The Metropolitan Museum of Art Bulletin Fall 2003

The Metropolitan Museum of Art Bulletin Fall 2003 

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Recent Acquisit 

A SELECTION: 2002-2003 

The 

Metropolitan Museum of Art 




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This publication was made possible 

through the generosity of the 

Lila Acheson Wallace Fund for 


established by the cofounder of 

Reader's Digest. 

The Metropolitan Museum ofArt Bulletin 

Fall 2003 

Volume LXI, Number 2 (ISSN 0026-I521) 

Copyright 2003 by The Metropolitan Museum 

of Art. Published quarterly. Periodicals postage 

paid at New York, N.Y., and Additional Mailing 

Offices. The Metropolitan Museum ofArt Bulletin is 

provided as a benefit to Museum members and is 

available by subscription. Subscriptions $25.00 a 

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required for change of address. POSTMASTER: Send 

address changes to Membership Department, The 

Metropolitan Museum of Art, Ioo0 Fifth Avenue, 

New York, N.Y. 10028-0198. Back issues available 

on microfilm from University Microfilms, 300 N. 

Zeeb Road, Ann Arbor, Mich. 48I06. Volumes 

I-XXXVII (I905-I942) available as clothbound 

reprint set or as individual yearly volumes from 

Ayer Company Publishers Inc., o5 Northwestern 

Drive #Io, Salem, N.H. 03079, or from the 

Museum, Box 700, Middle Village, N.Y. II379. 

General Manager of Publications: John P. O'Neill 

Editor in Chief of the Bulletin: Joan Holt 

Production: Peter Antony 

Design: Bruce Campbell Design 

with Bessas & Ackerman 

Coordinators: Mahrukh Tarapor and Alexandra Klein 

All photographs, unless otherwise noted, are by 

The Photograph Studio of The Metropolitan 

Museum of Art. Photographers Joseph Coscia Jr, 

Anna-Marie Kellen, Paul Lachenauer, Oi-Cheong 

Lee, Mark Morosse, Bruce Schwarz, Eileen Travell, 

Juan Trujillo, Karin L. Willis, and Peter Zeray. 

Copyright Notices: p. 4I: Balthus (Balthazar 

Klossowski), Pierre Matisse (2002.456.7), 2003 

Artists Rights Society (ARS), New York/ADAGP, 

Paris; p. 42: Henri Matisse, Marguerite Wearing a 

Toque (2002.456.15), 2003 Succession H. 

Matisse, Paris/Artists Rights Society (ARS), New 

York; p. 43: Joan Mir6, Photo-This Is the Color of 

My Dreams (2002.456.5), Successio Miro/Artists 

Rights Society (ARS), NY/ADAGP, Paris; p. 44: 

Alberto Giacometti, The Apple (2003.456.3), 

Artists Rights Society (ARS), New York/ADAGP, 

Paris; p. 47: Max Beckmann, Hell (2002.419a-n), 

Artists Rights Society (ARS), New York/DACS, 

London; George Grosz, The Secret Emperor (The 

Industrialist Hugo Stinnes) (2002.492), Estate of 

George Grosz; p. 48: Walter Sickert, Maple Street 

(2002.465), 2003 Artists Rights Society (ARS), 

New York/DACS, London; Lyonel Feininger, 

San Francisco I (2002.402.3), 2003 Artists 

Rights Society (ARS), New York/VG Bild-Kunst, 

Bonn; p. 49: Henri Matisse, "Poesies" by Stephanie 

Mallarme, Illustrated Book (unbound quarto) 

(2003.84a-rrrr), 2003 Succession H. Matisse, 

Paris/Artists Rights Society (ARS), New York; 

p. 50: David Smith, Studyfor "Banquet"(2003.38), 

Estate of David Smith/Licensed by VAGA, 

New York, NY; Franz Kline, Untitled (2002.580), 

Elizabeth Zogbaum/Estate of Franz Kline; 

Studio 65 (designer), Gufram (manufacturer), 

"Capitello"Side Chair (200oo3.I2a, b), Gufram 

S.R.L.; p. 51: David Hammonds, Phat Free, 

(2003.269), David Hammonds; Rodney Graham, 

Welsh Oak #I (2002.381), Rodney Graham; p. 52: 

Till Freiwald, Untitled (2002.368), Till Freiwald; 

Richard Avedon, June Leaf, Artist, Mabou Mines, 

Nova Scotia (2002.379.24), Richard Avedon; 

p. 53: Paula Rego, Getting Readyfor the Ball 

(2003.I2oa-c), The Artist; Irving Penn, Nude 

No. 70 (2002.455.30), 1950-2002 by Irving Penn. 

On the cover: Pensive Bodhisattva. Korean, Three 

Kingdoms period (57 B.C.-A.D. 668), mid-7th 

century (see p. 64)

Contents 

4 Contributors 

5 Director's Note 

6 Ancient World 

9 Islam 

ii 

Medieval Europe 

IS 

Renaissance and Baroque Europe 

23 Europe 1700-I900 

37 North America I700-I900 

41 Modern 

54 Africa, Oceania, and the Americas 

58 Asia 

67 Donors of Gifts of Works of Art or of Funds 

for Acquisition of Works of Art

Contributors 

American Decorative Arts 

North America I700-i9oo: Alice Cooney 

Frelinghuysen (ACF), Anthony W and Lulu 

C. Wang Curator; Amelia Peck (AP), 

Associate Curator. 

American Paintings and Sculpture 

North America I7oo-i9oo: Carrie Rebora 

Barratt (CRB), Curator; Thayer Tolles (TT), 

Associate Curator. 

Ancient Near Eastern Art 

Ancient World: Jean Evans (JE), Curatorial 

Assistant. 

Arms and Armor 

Renaissance and Baroque Europe: Stuart 

W. Pyhrr (SWP), Arthur Ochs Sulzberger 

Curator in Charge. Asia: Morihiro Ogawa 

(MO), Senior Research Associate. 

Arts of Africa, Oceania, and the Americas 

Africa, Oceania, and the Americas: Julie Jones 

(JJ), Curator in Charge; Alisa LaGamma 

(AL), Associate Curator; Eric Kjellgren (EK), 

Evelyn A. J. Hall and John A. Friede 

Assistant Curator; Virginia-Lee Webb 

(VLW), Associate Research Curator, 

Photograph Study Collection; Heidi King 

(HK), Senior Research Associate. 

Asian Art 

Asia: James C. Y. Watt (JCYW), Brooke 

Russell Astor Chairman; Barbara Ford (BF), 

Curator; Maxwell K. Hearn (MKH), 

Curator; Martin Lerner (ML), Curator; 

Miyeko Murase (MM), Special Consultant 

for Japanese Art; Steven M. Kossak (SMK), 

Associate Curator; Denise Patry Leidy 

(DPL), Associate Curator; Zhixin Jason Sun 

(ZJS), Associate Curator; Soyoung Lee (SL), 

Assistant Curator. 

Costume Institute 

Europe 1700-9o00: Andrew Bolton (AB), 

Associate Curator. Modern: Harold Koda 

(HK), Curator in Charge. 

Drawings and Prints 

Renaissance and Baroque Europe: Carmen C. 

Bambach (CCB), Curator; Nadine M. 

Orenstein (NMO), Curator; Michiel C. 

Plomp (MCP), Associate Curator. Europe 

1700-ro00: Colta Ives (CI), Curator; Michiel 

C. Plomp (MCP); Perrin Stein (PS), 

Associate Curator; Elizabeth E. Barker 

(EEB), Assistant Curator. 

Egyptian Art 

Ancient World: Dorothea Arnold (DA), Lila 

Acheson Wallace Curator in Charge. 

European Paintings 

Renaissance and Baroque Europe: Keith 

Christiansen (KC), Jayne Wrightsman 

Curator. Europe I700-oo00: Katharine Baetjer 

(KB), Curator; Gary Tinterow (GT), 

Engelhard Curator of Nineteenth-Century 

European Paintings. 

European Sculpture and Decorative Arts 

Renaissance and Baroque Europe: Ian 

Wardropper (IW), Iris and B. Gerald Cantor 

Curator in Charge; Europe i700-1900: James 

David Draper (JDD), Henry R. Kravis 

Curator; Wolfram Koeppe (WK), Associate 

Curator; Jeffrey H. Munger (JHM), 

Associate Curator. Modern: Wolfram Koeppe 

(WK). 

Greek and Roman Art 

Ancient World: Sean Hemingway (SH), 

Associate Curator; Christopher S. Lightfoot 

(CSL), Associate Curator; Elizabeth J. 

Milleker (EJM), Associate Curator. 

Islamic Art 

Islam: Stefano Carboni (SC), Curator; 

Navina Haidar (NH), Assistant Curator. 

Medieval Art and The Cloisters 

Medieval Europe: Peter Barnet (PB), Michel 

David-Weill Curator in Charge; Helen C. 

Evans (HCE), Curator; Timothy B. 

Husband (TBH), Curator, The Cloisters; 

Charles T. Little (CTL), Curator; Julien 

Chapuis (JC), Associate Curator. 

Modern Art 

Modern: J. Stewart Johnson (JSJ), Consultant 

for Design and Architecture; Nan Rosenthal 

(NR), Senior Consultant; Sabine Rewald 

(SR), Curator; Lisa M. Messinger (LMM), 

Associate Curator; Jane Adlin, Assistant 

Curator; Jared Goss (JG), Assistant Curator; 

Anne L. Strauss (ALS), Assistant Curator; 

Magdalena Dubrowski (MD), Associate 

Research Curator. 

Musical Instruments 

Renaissance and Baroque Europe: J. Kenneth 

Moore (JKM), Frederick P. Rose Curator in 

Charge. 

Photographs 

Modern: Maria Morris Hambourg (MHH), 

Curator in Charge; Douglas Eklund (DE), 

Assistant Curator; Mia Fineman (MF), 

Research Associate. 

4

Director's 

Note 

In a year in which I have been cast for the 

most part in the role of the bearer of bad tidings-cuts 

in funding from the city, drop in 

attendance, budgets that need trimming-I 

am pleased to deliver good news in the form 

of our annual selection of recent acquisitions, 

many of them truly notable. It includes four 

paintings and an etching from one of the 

most important donations of modern art to 

the Museum, that from the Pierre and 

Maria-Gaetana Matisse Foundation. The gift 

consists of works from Pierre Matisses's personal 

collection: pictures by Balthus, Chagall, 

Derain, Dubuffet, Giacometti, Mir6, and 

Tanguy, as well as a group of nearly fifty 

works in various mediums by Pierre's father, 

Henri. The Matisse gift also includes African 

pieces, represented here by the imposing reliquary 

figure illustrated on page 55. 

Through a combination of promised gift 

and purchase a group of some fifty plein-air 

sketches from the Wheelock Whitney collection 

added a new dimension to our earlynineteenth-century 

paintings holdings, as 

have a few individual works such as Millet's 

Retreat fom the Storm, a gift of Serena Tang 

and Peter M. Wood. 

Previous donors of works of art or gifts of 

funds for acquisitions have been as generous as 

ever this past year. Regular readers of this publication 

will thus recognize credits such as, 

among others, to the Wrightsman Fund for 

Chasseriau's dreamy portrait of the comtesse 

de La Tour-Maubourg; to Walter and Leonore 

Annenberg and the Annenberg Foundation 

for further gifts from their fabled collection, 

as well for the purchase of the splendid, 

seventh-century Korean Pensive Bodhisattva 

on the cover; to Cynthia and Leon Polsky 

for Indian works; to Jeffrey B. Soref for the 

monumental, twelfth-century Khmer-style 

eight-armed Avalokiteshvara; and for various 

other Asian works of art to the Eugene Victor 

Thaw Art Foundation, the Vincent Astor 

Foundation, and the Dillon Fund. Once 

again we thank Leon D. and Debra R. Black, 

who enabled us to buy our first drawing by 

Caspar David Friedrich, a spectacular large 

view of Riigen Island. We are grateful as well 

to the Anna-Maria and Stephen Kellen 

Foundation for making possible the purchase 

of the grand eighteenth-century Austrian silver 

wine coolers. 

I cannot conclude without emphasizing 

to the reader how rich in true masterpieces 

is this group of acquisitions. Certainly, 

Lorenzetti's Crucifixion and Barocci's Saint 

Francis qualify among the selections from the 

Department of European Paintings, as do 

two magisterial sculptures from European 

Sculpture and Decorative Arts, Permoser's 

Marsyas and Pajou's Head of a Bearded Elder. 

Asian Art is represented in this category by 

the set of three rare Japanese handscrolls of 

the late fourteenth century; Medieval Art and 

The Cloisters by four exceptional fourteenthcentury 

secular ivories; and Egyptian Art 

by a splendid example of wood carving, 

the royal ancestral figure possibly of the 

Ptolemaic period. 

Finally, I wish to thank all donors of 

works of art and all others who have contributed 

to our acquisitions program in the 

past year. Without them this institution 

could not continue to thrive. 

Philippe de Montebello 

Director 

5 




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ANCIENT 

WORLD 

Royal Ancestral Figure 

Egyptian, Dynasty 3o-possibly early Ptolemaic 

period, 4th-3rd century B. C. 

Wood (possibly Dalbergia melanoxylon 

[African blackwood]) 

H. 8' in. (21 cm) 

Purchase, Anne and John V. Hansen 

Egyptian Purchase Fund, and Magda Saleh 

and Jack Josephson Gift, 0oo3 

2003.154 

Ancient Egyptian divine images resided in 

shrines deep inside the temple sanctuaries. 

Some shrines were surrounded by small figures 

depicting ancestral spirits in the hieratic pose 

seen in this masterpiece of Egyptian wood 

carving. The left fist strikes the chest, while the 

right is raised with the-now partly missingarm 

angled at the elbow. In actual ritual performances 

the gesture would have alternated 

with a reversed position of arms and fists, and 

incantations would have accompanied this 

celebration of divine epiphany. 

The figure was created during a time when 

Egypt was first ruled by its last indigenous 

pharaohs and then experienced the conquest 

by Alexander the Great (332 B.c.) and the 

beginning of the rule of the Ptolemies. The 

indigenous Dynasty 30 (380-343 B.c.) initiated 

a phase of high artistic achievement, the 

impact of which was felt for a long time to 

come. Epitomizing the artistic tendencies of 

his era, the wood carver combined millenniaold 

Egyptian concepts such as axiality and 

frontality with strikingly innovative traits like 

the free movement of the left leg and refined 

treatment of the softly rendered musculature. 

In 1922 this figure was part of a centennial 

exhibition at the Louvre celebrating Jean- 

Franrois Champollion's Lettre a M. Dacier, in 

which he announced his decipherment of the 

Egyptian hieroglyphs in I822. 

DA 

Striding Lion 

Anatolian or Syrian, mid-ist millennium B. C. 

Copper alloy 

H. 7-8 in. (8.7 cm) 

Purchase, Joseph Pulitzer Bequest, Gift of 

Dr. Mortimer D. Sackler, Theresa Sackler 

and Family, and funds from various 

donors, 2ooz 

2002.457a, b 

Although the first half of the first millennium 

B.C. is known as a period of great metalwork 

production in the Near East, this striding 

lion is a rare surviving metal sculpture in the 

round. Cast in copper alloy, the body is 

smooth with little articulation of musculature. 

The mane is indicated by large raised 

tufts on the shoulders and upper forelegs. 

The lion's powerful presence is concentrated 

in the stylization of the face, executed in a 

manner that dates this work to the mid-first 

6 




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millennium B.c. A gaping mouth reveals 

teeth and a protruding tongue. The nose is 

wrinkled in a snarl. Furrows in the forehead 

form a U-shape with ridges on either side, 

and the heavy brow extends to the ears. A 

fragment of original white inlay is preserved 

in the left eye. 

The lion, formerly in the Guennol 

Collection, may be attributed to Anatolia or 

Syria based on comparison with monumental 

stone relief carving of these regions. In Anatolia 

it is common practice to show deities on the 

backs of lions and bulls; a knob on the back 

of the lion, set into the middle of an irregular 

area, was possibly a platform on which such a 

'- 

figure would have stood. JE Pair of Gold Roundels 

Greek, South Italian, Classicalperiod, 

5th-4th century B.c. 

Gold 

H. () is8 in. (30 cm); h. (.2) '2 in. 0.7 cm) 

Gift of Torkom Demirjian, in honor of 

Philippe de Montebello's z5th anniversary 

as Director of The Metropolitan Museum 

of Art, 20oo02 

2002.569.1, .2 

*111: MM~ 1,1 

' 

'''.Museum, 

These striking roundels are fine examples of 

a well-known type of Greek filigree goldwork, 

especially popular in southern Italy during the 

Classical period. Each consists of a tube of 

gold sheeting in the form of a truncated cone 

that is flattened at the bottom for strength 

and adorned at the top with a wide collar, the 

surface of which is decorated with alternating 

bands of filigree work. Their use remains a 

mystery. The roundels may have served as 

stands for precious glass vessels, as did a pair 

with figural decoration found in a tomb at 

Ruvo, Apulia. Alternatively, they may have 

functioned as objects of female adornment, 

such as hair ornaments like those sometimes 

seen worn by women on Greek and Italic 

vases of the period, or even as large earrings, 

since they are typically found in pairs. A 

remarkably similar pair in the Ashmolean 

Oxford, almost certainly comes 

from the same workshop. 

SH 

7

Mask of Pan 

Roman, Ist century A.D. 

Marble 

H. iY8 in. (28.3 cm) 

The Bothmer Purchase Fund, 200oo 

2002.284 

The remains of two horns set in the bristling 

hair identify this bearded mask as that of 

Pan, the rustic goat god who was venerated 

all over the Greek and Roman world as an 

uncivilized power of nature. His cult originated 

among the herdsmen of Arcadia, a wild 

mountainous region of Greece, but by the 

time this decorative mask was produced, Pan 

had become primarily a denizen of private 

villas, where on wall paintings and in garden 

sculpture he disported with Dionysos and his 

band of satyrs and maenads. 

Although the earliest images of Pan showed 

the god in fully animal form, he gradually 

became more human, sometimes appearing 

as a young man with discreet horns and tail, 

sometimes with goat legs and more or less 

grotesque animal features. Pan's wild nature 

is suggested here by the short unkempt hair, 

large nose, and wartlike protuberance between 

the bushy eyebrows. This representation of 

the god in a theater mask probably once decorated 

a Roman garden, where it would have 

evoked not only Pan's rustic lifestyle but also 

the world of Dionysos, the divinity most 

closely associated with Greek drama. EJM 

Cinerary Urn 

Roman, ist half of the Ist century A.D. 

Marble 

14Y4 X 21Y4 in. (36.2 x 54 cm) 

Purchase, Philodoroi Gifts and Gift of 

Ariel Herrmann, 2ooz 

2002.297, .568 

The urn, found near Anagni, southeast of 

Rome, in 1899, is a singular example of 

Roman funerary art. The back and side panels 

of the rectilinear box are covered with tro- 

phies, weapons, and armor carved in high 

relief and in exquisite detail. The panels have 

more in common with reliefs on imperial 

monuments such as triumphal arches than 

with the standard types of decoration on 

Roman cinerary urns, which usually resemble 

actual receptacles (vases or baskets) or take 

the form of altars or miniature tombs. 

Both the subject and the quality of the 

carved decoration on the present urn suggest 

that it was a special commission, possibly for 

a high-ranking imperial officer. Sadly, much 

of the front, where an inscription recording 

the deceased's name would have been placed, 

is missing. The lid, too, is absent, although 

holes and traces of lead solder at the top of 

the sides indicate that the urn originally had a 

lid fixed to it. After the urn's acquisition a 

separate fragment from the right side panel 

was donated to the Museum, and this piece 

has now been restored to the urn, completing 

the right rear corner. 

CSL 

8

ISLAM 

rotating movement, thus creating a thicker 

and darker layer of glass inside the vessel. 

This inventive solution improves the ewer's 

overall appearance. A handful of objects 

decorated in this manner, most likely a revival 

of a pre-Islamic tradition mainly in the 

Iranian area, has survived. The ewer, with its 

stylized bird shape, is perhaps the most 

accomplished object in that small group. 

sc 

Ram Receives Sugriva andJambavat, the 

Monkey and Bear Kings 

India, subimperial Mughal, ca. I605 

Leaf fom a manuscript ofthe Ramayana 

Opaque watercolor and gold on paper, 

I0 x 7 Y in. (27 x i8.7 cm) 

Four lines of Sanskrit and one line ofBundeli; 

Hindi on reverse 

Cynthia Hazen Polsky and Leon B. Polsky 

Fund, 2oo0 

2002.503 

The great Indian epic the Ramayana recounts 

the tale of Prince Rama and his battle with 

Ravana, king of the demons, which was won 

with the aid of the monkey and bear armies. 

Here, in a folio from one of the four known 

Ramayana manuscripts of the Akbar period 

(I556-I605), the blue-skinned Rama is seated 

under a brilliantly colored, curved pavilion 

with the monkey and bear kings standing 

before him with folded hands. A row of 

courtly human and monkey figures is below, 

while an attendant stands behind Rama and 

bold Chinese-inspired ribbonlike clouds float 

in the golden sky. 

In contrast to other Ramayana manuscripts 

of this period, which were translated into 

Persian at the order of the Mughal emperor 

Akbar, this series retains its original Sanskrit 

text, indicating that it was probably made for a 

Hindu patron, possibly Bir Singh Deo of 

Datia. The manuscript is distinguished for its 

lively synthesis of painting styles, combining 

the refinement of the imperial Mughal tradition 

with the bold palette and dynamism of 

early Rajput painting. Its folios were not 

bound with a continuous text; rather, each 

illustrated leaf had passages written on the 

reverse. Damage from a fire soon after the 

completion of the series explains the irregular 

shape of the pages. 

NH 

Ewer 

Probably Iran, 12th century 

Blown and tooled glass with applied decoration 

H. 12 in. (30.5 cm) 

Purchase, Friends of Islamic Art Gifts, 

2002 

2002.348 

Intact large glass vessels from the medieval 

Islamic period are rare. If they also show little 

weathering of the surface, as does this imposing 

ewer, they represent an exceptional find. 

The artistic appeal of the vessel, either a 

water container or a wine decanter, is greatly 

enhanced by the elongated heart shape of its 

mouth and the applied decoration of its neck. 

Viewed in profile, they are reminiscent of a 

rooster's head and neck feathers, turning this 

utilitarian vessel into a dynamic birdlike 

form, as is often the case with contemporaneous 

works in metal and ceramic produced 

under the Seljuqs (I040-1194) in Iran. 

The decorative ring in the middle of the 

body was achieved with a peculiar and rarely 

seen technique, that of pressing a pointed 

tool into the still-hot glass with a steady 

r 

JO 

cit 

.jfTV 

-'i,17 4 

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9 




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Pen Box 

India (possibly Deccan or Kashmir) 

late i7th-early i8th century 

Lacquered pdpier-mache with gold leaf 

L. 91 in. (23.3 cm) 

Inscribed: [by the] kamtarin (the humble) 

mano'har 


Fund, 2oo2 

2002.416a, b 

This lacquer pen box is a fine example of a 

combination of Indian, Persian, and European 

elements first seen in painting in Iran at the 

end of the seventeenth century. The central 

motif depicts a young woman in Persian 

dress holding a branch above her head in a 

dohada salabhanjikd (girl who fertilizes a tree) 

pose that is familiar from ancient Indian art. 

Above, an amorous couple is in Indian dress, 

the prince seated on a high scalloped-back 

chair. Below, a European gallant, seated on 

the rocks, plays his flute to deer grazing 

nearby. The sides of the box are painted with 

pastoral scenes, including groups of travelers, 

hunters, a pair of lovers, and views of distant 

architecture, Europeanizing conventions 

that were popular in contemporary Safavid 

lacquer painting. 

The close relationship between this box, 

by the previously unknown Indian painter 

Manohar, and a lacquered jewel box in the 

Victoria and Albert Museum, London, attributed 

to the artist Rahim Deccani, suggests 

that this appealing hybrid style was also practiced 

in India. Several important Persian 

artists are known to have spent time in India 

in the late seventeenth century, including at 

centers in the Deccan and as far north as 

Kashmir, giving rise to local painting styles 

that followed their influential mode. NH 

I0

MEDIEVAL 

EUROPE 

style that emerged from the Mosan-Rhenish 

crucible, a prime center of artistic innovation 

in the high Middle Ages. Although small 

enough to fit in one's hand, the work is 

impressive for the Virgin's formidable presence, 

the balanced distribution of volumes, 

and the tender rapport of mother and child. 

Indicative of the refined execution, the heavy 

cloth of the Virgin's mantle is distinguished 

from the thin fabric of her tunic, and the 

child's hair is carved as if it were braided. 

Recent conservation treatment freed the 

sculpture of Baroque overpaint, revealing 

the extraordinary finesse of the original 

decoration. The abundant use of gold underscores 

the regal nature of the figures, while 

the detailed rendering of the faces makes their 

humanity palpable. Created as an object of 

devotion, the sculpture shows traces of wear 

on the crests of the folds and on the child's 

feet, left arm, and thigh, where it was caressed 

and kissed by worshipers. 

jc 

Fragment of a Hanging 

Byzantine (Egypt), A.D. 400-6o0 

Tapestry weave with stitching weft in 

polychrome wool and undyed linen 

i85 x 25X8 in. (47.9 x 63.9 cm) 

Gift of Nanette B. Kelekian, in honor of 

Nobuko Kajitani, zooz 

2002.239. 1 

This vibrantly colored fragment of a hanging 

is a rare example of the survival of an Egyptian 

textile that may have been part of the furnishings 

of a Christian site. It is one of two 

similar fragments given to the Museum by 

Nanette B. Kelekian. Each is decorated with 

an arch enclosing an elaborately jeweled form 

of the Christian cross. No other works of the 

type are known to have survived. The pieces 

were probably once part of one large hanging 

embellished with a series of arches supported 

by columns. 

One capital, adorned with grape clusters, 

and a portion of a column remain on the 

right edge of this fragment. The cross under 

the arch has been combined with the Greek 

letter chi (X) to form a variant on the 

Christogram widely used by the early church 

as an abbreviation for the name of Christ. 

The patterns on the textile replicate those 

found on contemporary Egyptian stone 

carvings, which would have been painted in 

similarly brilliant colors. Christianity spread 

widely in Egypt, the country in which monasticism 

first developed. When complete, the 

hanging may have been used in a doorway or 

to screen off an interior part of a church. HCE 

Enthroned Virgin and Child 

Mosan/Lower Rhenish, ca. I220 

Limewood with originalpolychromy 

and gilding 

H. 78 in. (9.5 cm) 

The Cloisters Collection, 2oo2 

2002.285 

Exceptional for its well-preserved polychromy, 

this sculpture of the Virgin and child is a quintessential 

example of the vigorous "Year I200" 

II 




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Fragment of Compendium of the 

Genealogy of Christ 

English, ca. 1230 

Ink on parchment 

65y/ x i3'8 in. (166. x 33.2 cm) 

The Cloisters Collection, 2ooz 

2002.433 

This manuscript, linking biblical history with 

the genealogy of Christ, conveys the scholastic 

tradition of the medieval university context 

from which it derived. Written by Peter of 

Poitiers, chancellor at the University of Paris 

from 1193 to Izo5, the Compendium Historiale 

in Genealogia Christi was essentially an abridgment 

of biblical history for students in the 

form of a genealogical tree of Christ. It was 

frequently copied in a vertical roll and illustrated 

with line drawings and diagrams, as is 

this English example. The history of the 

world is organized into six ages, each introduced 

in the manuscript with a line drawing. 

This fine pen rendering of the Nativity illustrates 

the sixth age-that of the Incarnation 

of Christ. The other figurative drawings in the 

manuscript represent the kings David and 

Zedekiah. 

Diagrams were important tools for 

medieval thinkers, and the manuscript is 

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enlivened with examples representing the 

Mansions in the Desert (the forty-two 

places the Israelites stopped over a 

period of three years during the 

Exodus), the Twelve Tribes of 

Israel, and the city of Jerusalem. In 

creating his compendium, with its 

complex interplay of word and l 

image, Peter of Poitiers made a 

lasting contribution to both 

scholarship and pedagogy. 

PB 

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knights, their shields decorated with roses, 

VI 

teenth-century mirror cases, some of which 

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are decorated with the same 

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theme; but the 

reverse is, uncharacteristically, 

ii cf 

XtW kU 

Panel of a Casket 

French (Paris), ca. 1325-50 

Ivory 

4 % x I2 !8 in. (I x 30.8 cm) 

The Cloisters Collection, 0oo3 

2003.131.2 

4t 

I . . _ ;L' 

Mirror Case or Box Cover 


Elephant ivory 

Diam. 5'2 in. (i4.r cm) 

The Cloisters Collection, 2003 

2003.13I.1 

The attack on the Castle of Love became a 

popular image in the fourteenth century and 

is represented here with particular delicacy. 

Twenty-eight figures and five horses occupy 

the ground in front of the castle, as well as its 

battlements and windows. At the top the 

crowned and winged god of love prepares to 

launch an arrow toward the lower left. The 

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castle is defended by women armed with 

roses that they hurl at the attacking knights. 

The knights are greeted by some women with 

welcoming gestures; and, in the upper left, a 

woman offers a crown to one of the trumpeters, 

who will announce the playful joust to 

take place before the portcullis. Two armed 

ride in from the right to face their female 

opponents. A third, who has lost his shield 

and removed his helmet, stands on his horse 

to embrace a woman in a window to the left 

of the castle entrance. 

The ivory disk is the size and shape of four- 

threaded at the 

edge, suggesting that the disk may have been 

the cover of a circular box. 

PB 

The stag hunt, one of the principal secular 

themes of the Middle Ages, is here eloquently 

portrayed in ivory. The action begins at the 

left with hounds and hunters on horseback 

departing the castle. In a wooded setting 

women lure falcons, while the hunter has 

shot an arrow at the stag as hounds torment 

12

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8s 

:-1 r* b_ 

it; finally, as the stag seeks relief from the 

waters of a fountain, the hunter delivers the 

coup de grace with his sword. In medieval 

poetry such courtly themes were also 

regarded allegorically as the hunt for love. 

The panel originally formed the back of an 

exceptionally large casket (now lost). The 

casket is known from an eighteenth-century 

engraving that shows the conclusion of the 

hunt, with the stag's head being presented to 

courtly figures. As key examples of secular 

ivory carving in Paris during the time of 

Charles V (1338-1380), the images are rendered 

with crisp, graphic carving that creates 

rich surface and spatial effects commensurate 

with the finest luxury works of the city. 

Joining the celebrated secular ivories from 

the Morgan collection, this panel and three 

others illustrated here enable the Museum to 

offer an unparalleled glimpse of the secular 

spirit of the high Middle Ages. CTL 

,- 

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Cover of a Writing Tablet 


;" 

Ivory 

3/ x 2Y8 in. (9.3 x .p9 cm) 


2003.131.3a, b 

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4' 

Both sides of this ivory reveal scenes of 

courtship taking place under trefoil arches. 

On one side (not shown), a man holding a 

bird of prey a symbol of his status has 

received a coronet from a woman and reciprocates 

by crowning her, thus signifying her 

victory in winning his love. On the other side 

(below, left) the lovers kneel in adoration 

before the god of love, who throws darts to 

seal their devotion. Inspired by numerous 

contemporary love poems, these scenes are 

part of the stages of love as defined in courtly 

literature such as the influential Roman de la 

Rose (ca. I230-75). 

Intended to cover writing tablets, such 

plaques were among the deluxe products of 

Paris during the fourteenth century and were 

possibly made on the rue de la Tabletterie, a 

name indicating their special use. Poems or 

messages would have been written on smooth 

sheets of ivory that had recessed areas filled 

with wax for the text. Perfect economy of 

technique and purity of style are clearly evi- 

dent in these amorous images. In their ele- 

gance of form and gesture the courtly couples 

seem also to convey a moral and spiritual life 

that appears both mannered and artificial but 

is infused with joie de vivre. 

CTL 

The lower scene depicts three episodes in the 

progress of an amorous relationship. Beneath 

trefoil arches a woman recoils from the 

advances of her lover at the left; she has a 

more tentative response in the center; and on 

the right she embraces him as he chucks her 

chin. Above, under an identical arcade, is the 

fountain of youth, an image rarely represented 

in art during this period but known from 

romance literature. At the left a bearded, old 

man with a walking stick enters the raised 

fountain's flowing waters, which are already 

inhabited by two smiling, youthful couples. 

In addition to devotional statuettes, diptychs, 

and triptychs, which survive in large 

numbers, Parisian ivory carvers supplied their 

clients with combs, boxes, mirror cases, and 

other objects frequently decorated with secular 

themes. This plaque was undoubtedly 

made to be the cover of a set of wax writing 

tablets. The ivory leaves would have been 

held together by a cord passed through the 

two holes that can be seen at the top. Small 

traces of paint indicate that this ivory was 

probably originally partially polychromed. 

PB 

Cover of a Writing Tablet 


Elephant ivory 

4 -s x 2Xs in. (11.2 x 6.6 cm) 



13

Relief of a Bishop 

South Lowlands, ca. 1400-1425 

Limestone 

H. 20 in. (3 cm) 

The Cloisters Collection, 2002 

2002.338 

This finely carved image of a bishop, executed 

in the dark limestone characteristic of the 

South Lowlands, is a fragment of a larger 

funerary relief. Dating to the time when 

Robert Campin (active ca. I405-44) was 

painting his seminal works in Tournai, the 

jowled figure of a bishop displays the carefully 

observed details that evoke the new spirit of 

naturalism evident in early-fifteenth-century 

Netherlandish art. In its gray-blue limestone 

and in its style, the bishop is consistent with 

an important group of epitaphs found 

throughout the South Lowlands, such as the 

well-known examples in Tournai Cathedral. 

The bishop wears a cope with scrolling 

vines on its decorative borders (orphreys) 

and a large clasp (morse) in the form of a 

I4 

rose on his chest; his miter is encrusted with 

jewels. Preserved as an isolated figure separated 

from its original context-the majority 

of the surviving epitaphs in the region have 

an image of the Virgin at the center-this 

accomplished carving still conveys powerfully 

the solemnity of the funerary relief. PB 

The Circumcision 

German (Cologne), ca. I46o-70 

Colorless andpot-metal glass with vitreous paint 

and silver stain 

32/4 x 22/2 in. (8I.p x 57.2 cm) 

Purchase, Bequest of Jane Hayward, by 

exchange, and The Cloisters Collection, zoo3 


Inside a temple the rite of circumcision is 

performed on the Christ child and witnessed 

by his mother and a mitered high priest. 

The individualized features of the partici- 

pants are rendered in refined and wellpreserved 

grisaille painting, which is set into 

relief by the brilliant saturated colors of the 

garments. 

The panel is one of about forty, now dispersed 

in collections mostly in the United 

States and England, that were once part of 

at least three variant series of typological win- 

dows, all based on the same designs. Following 

the format of the fifteenth-century Biblia 

pauperum, two Old Testament scenes were 

combined as prefigurations with one New 

Testament scene. The style and iconography of 

the panels reflect a knowledge of the work of 

contemporary artists of the Lowlands, notably 

Rogier van der Weyden, as well as that of local 

Cologne artists such as the Master of Saint 

Severin and the Master of the Holy Kinship. 

These typological windows were apparently 

all destined for monastic foundations of the 

Kreuzbriider (Crutched Friars); the present 

panel came either from the abbey on the 

Kreuzgasse in Cologne or from one in the 

nearby town of Schwarzenbroich bei Diren. 

TBH

RENAISSANCE AND BAROQUE EUROPE 

Pietro Lorenzetti 

Italian (Siena), active 1320-44 

The Crucifixion = 

Tempera on wood, gold ground, i6Y x 12Y22n. 

(41.9 x 31. 8 cm) 

Purchase, Lila Acheson Wallace Gift and 

Gwynne Andrews Fund, 2002 

2oo2.436 

This exquisite picture, of unusual dramatic 

intensity and characterization, is the most 

important early Italian painting to have been 

purchased by the Museum in over thirty-five ,! ! 

years. It belonged to a portable altarpiece of 

which one other panel is known: Christ before 

Pilate (Pinacoteca Vaticana, Vatican City). 

i 

Originally, there may have been four (possibly 

six) panels showing the Passion of Christ. 

Like his brother Ainbrogio, Pietro Lorenzetti 

is one of the true innovators of Italian art. 

Trained in Siena under Duccio, he was atten- 

rive to both the sculpture of Giovanni Pisano 

and the paintings of Giotto. His frescoes in 

the basilica of San Francesco, Assisi, are a 

landmark of expressive naturalism. Although 

small in scale, this panel testifies fully to the 

scope of his imagination. It was painted as a 

devotional aid, but the emphasis is on narra- 

tion. Every detail gives evidence of Pietro's 

ability to infuse the timeworn biblical subject 

with a human dimension. Especially notable 

are the swooning Virgin, supported by her 

companions, and the energetic figure about 

to break the legs of one of the thieves who 

was crucified with Christ. 

The picture belonged to the French 

painter Paul Delaroche (1797-I856), who 

believed it to be by Ciotto. 

KC 

!ii 

i 

i 

I5 




www.jstor.org

Israhel van Meckenem 

German, ca. 1440/45-1503 

The Falconer and the Lady, from the 

series Scenes of Daily Life 

Ca. I495 

Engraving 

Sheet 62 x 44 in. (I6. x 1o.8 cm) 

Purchase, Barbara and Howard Fox and 

Martha Feltenstein Gifts, and The Elisha 

Whittelsey Collection, The Elisha 

Whittelsey Fund, 2003 


dialogue between the figures; here they may 

have been left blank so that collectors might 

inscribe their own. 

Israhel, a practicing goldsmith, was also 

one of the most prolific and innovative 

fifteenth-century masters of the related art of 

engraving. While a large part of his oeuvre 

consists of copies after other printmakers, 

many of his later works, like the series Scenes 

of Daily Life, were unique and witty turns on 

traditional subjects. 

NMO 

Anonymous 

Bohemian (Prague), 355-80 

Head of a Bearded Man 

1355-8o 

Pen and ink, brush and gray black and brown 

ink, traces of white heightening, on white 

laid paper 

4 'x 3/H in. (I1.3 x 8.5 cm) 

Purchase, Gift of Dr. Mortimer D. 

Sackler, Theresa Sackler and Family, 2003 


This depiction of courtly love is the most 

refined within Israhel's series of engravings 

devoted to amorous relationships, from the 

chivalrous to the lascivious, among different 

classes. In fifteenth-century imagery the 

noble pastime of falconry was traditionally 

associated with love. Here a falcon perches on 

the gloved hand of an elegantly dressed 

suitor. As his beloved demurely gazes down, 

she throws a furtive glance in his direction. 

From her headdress a cloth unfurls, echoing 

the banderoles that flutter above the couple. 

Such airborne ribbons often displayed a 

Lo Spagna (Giovanni di Pietro) 

Italian, ca. 1450-1528 

The Blessed Egidius 

Ca. Is 4-I6 

Charcoal, with outlines pricked and pounced 

for transfer, on light brown laidpaper 

i 5Y x 9/S in. (38. x 24.4 cm) 

Purchase, Leon D. and Debra R. Black 

Gift, Harry G. Sperling Fund, Roy R. and 

Marie S. Neuberger Foundation Inc. Gift, 

and The Elisha Whittelsey Collection, The 

Elisha Whittelsey Fund, 2002 

2002.432 

This fine drawing was made in all likelihood 

just after I350 in Bohemia. The ponderous 

visage, with flowing beard and full features, 

is close to images in panel and mural painting 

created in that area during the reign of 

Holy Roman Emperor Charles IV, especially 

in the decades following his coronation in 

Rome in I355. With remarkable contrasts of 

light and shadow, subtle highlighting in the 

beard, and delicate brushstrokes at the brow, 

the drawing is one of the most beautiful 

among Bohemian examples, which form an 

important part of the limited corpus of 

drawings from the second half of the 

fourteenth century. 

MCP 

I6

A recent discovery, this carefully rendered 

working drawing was produced as a cartoon, 

or full-scale design, for a figure in a 

fresco painting on the apse of a small 

chapel in the basilica of Santa Maria degli 

Angeli in Assisi that marked the place of 

the infirmary where Saint Francis died. 

The figure is identified in the fresco as the 

blessed Egidius, a Franciscan friar who 

was among Saint Francis's companions. 

The artist, nicknamed Lo Spagna 

probably because he came from Spain, 

was active mostly in Umbria and the 

Marches, and he was deeply influenced 

by the late-fifteenth-century painter 

Perugino, who may have also been his 

teacher. The Assisi fresco, among Lo 

Spagna's most significant works, was celebrated 

in Giorgio Vasari's brief biography 

of the artist (Florence, 1568). 

This drawing illustrates Lo Spagna's 

distinctive use of an orderly, diagonal 

cross-hatching to build up the depth of 

the shadows, with which he attained both 

an imposing overall sculptural presence 

for the figure and delicate nuances of textures 

on the face, hair, and cloth. The 

naturalisti conception of the figure, caught 

between arrested movement and mute 

contemplation, suggests that a live model 

probably served for the posthumous 

portrayal of this venerable friar. CCB Jorg Breu the Elder 

German, 1480-537 

The Four Temperaments 

1515-20 

Pen and dark brown ink on off-white 

laid paper 

Diam. p in. (23 cm) 

Purchase, Fletcher Fund and funds from 

various donors, 2003 


The versatile painter and draftsman Jorg 

Breu the Elder belonged to the generation 

of German Renaissance artists that included 

Albrecht Direr and Lucas Cranach. Together 

with Hans Holbein the Elder and 

Hans Burgkmair I, Breu formed the trio of 

great Augsburg painters active about I500. 

His Four Temperaments, in all likelihood a 

design for a painted glass roundel, is done in 

Breu's sober yet impressive way of drawing, 

which indicates that the work probably stems 

from after his sojourn in Italy (ca. 1514). 

Rather unusually, the four temperaments 

are depicted together in a landscape, as though 

at an outdoor party. The phlegmatic temperament 

is represented by three people mak- 

ing music, the melancholic temperament by a 

woman spinning and a sleeping man, the 

sanguine by a couple embracing, and the 

choleric by two people fighting. MCP 

17

Bernaert van Orley 

Netherlandish, 1488-1-54 

Pilate Washing His Hands 

1530-32 

Black chalk, squared in red chalk, on four 

joined sheets ofpaper 

36Y, x 24X, in. (92 x 61.5 cm) 

Louis V. Bell Fund and Harris Brisbane 

Dick Fund, 200oo 

2002.430 

In a staging that owes much to Albrecht 

Durer's prints illustrating Christ's Passion 

(1511), Van Orley created three distinct points 

of interest: Pilate conversing with the Pharisees 

in the center of the composition; Christ led 

away in the foreground; and soldiers preparing 

the way to Calvary in the background. 

The sheet belongs to a series of thirteen 

extant drawings depicting the Passion of 

Christ that most probably were preparatory 

designs for stained-glass windows. In this 

regard the drawing provides important 

evidence, for it is the only sheet from the 

series that is related to a stained-glass window. 

The window-its composition was ultimately 

somewhat changed-is in the church 

at Solre-le-Chateau (Pas de Calais). 

Van Orley was the court painter of 

Margaret of Austria and later of her successor, 

Mary of Hungary, in Brussels. He was the 

first designer of tapestries and stained-glass 

windows whose work showed an informed 

response to the aesthetics of the Renaissance. 

MCP 

Gauntlet 

Italian (Milan), ca. I580 

Steel, gold, silver, canvas, and textile 

L. I3 in. (33 cm) 

Gift of Bernice and Jerome Zwanger, 200oo 

2002.507 

The gauntlet's deeply chiseled, golddamascened, 

and silver-encrusted decoration, 

comprising bands of grotesque ornament, a 

figure of Saint George slaying the dragon, 

and the owner's crowned monogram, is of a 

type found in only the highest quality of 

armor crafted in Milan during the late six- 

teenth century. The plain surfaces, now 

bright, were originally blackened for contrast. 

The gauntlet forms part of the armor of 

Don Alonso Perez de Guzman el Bueno 

(I550o-619), count of Niebla and duke of 

Medina-Sidonia. It is preserved today, with 

the exception of the gauntlets, in the Royal 

Armory, Madrid. The elbow-length left 

gauntlet is in the State Hermitage Museum, 

Saint Petersburg. A distinguished soldier and 

courtier, Medina-Sidonia is best remembered 

as the commander of the ill-fated armada sent 

against England in I588. His exquisite armor, 

which he presented to his sovereign, Philip 

III, in I6o8, is unusual in that, despite its rich 

ornament, it was forged of heavy, shot-proof 

plate and therefore was intended for active 

service as well as for parade. 

swP

Federico Barocci 

Italian (Marches), 135.-1612 

Saint Francis 

Ca. i6oo0-I60 

Oil on canvas, 30o x 35 s in. (78.4 x 9o.5 cm) 


200oo Benefit Fund, 2003 


This is a particularly welcome addition to 

the collection, for Barocci is a key figure in 

Italian painting. Although he spent most of 

his life in the duchy of Urbino, in the Marches, 

his fame was European. He was a slow, metic- 

ulous worker and, in consequence, produced 

few pictures (this is the only painting by him 

in America). Yet his altarpieces and devo- 

tional paintings, with their compositional 

refinement, warm humanity, and deep 

expressivity, laid the groundwork for Baroque 

style: Annibale Carracci, Peter Paul Rubens, 

Guido Reni, and Gianlorenzo Bernini all 

admired his art and were deeply influenced 

by it. 

The picture is conceived as a meditation 

on Saint Francis (118/82-I226), who is shown 

in a grotto on Mount Laverna, where he 

received the stigmata (depicted as protruding 

nails in conformity with early Franciscan 

Capuchins, the reformed branch of the 

Franciscan order founded by his compatriot 

Matteo di Bassi [d. 1552]), and this deeply felt 

work, painted about 6oo00-605, must have 

been intended for a Capuchin friar or 

supporter of the Franciscan order. KC 

I9

Samuel Bidermann and Son 

German, 1540-1622 

Veit Langenbucher 

German, ca. 1587-163r 

MusicalAutomata Clock 

Augsburg, ca. 1623 

H. 30o3 in. (78. icm) 

Purchase, Clara Mertens Bequest, in 

memory of Andre Mertens, 200oo 

2002.323a-f 

instrument 

Inside the ebony case of this musical 

clock is an extremely rare and important 

instrument consisting of a sixteennote 

pipe organ and a sixteen-string 

spinet that may be played independently 

of the organ. Made by the 

renowned team of Samuel Bidermann 

and his son (also Samuel)-the 

father's L-shaped pinning style appears 

in this work-and Veit Langenbucher, 

the extraordinary piece includes, in 

addition to the organ and spinet, a 

clock and five carved and colorfully 

clad commedia dell'arte figures that 

perform a circling dance in the clock's 

tower when the instruments sound to 

mark the hours. 

The complex clock is perhaps the 

most musically elaborate automatic 

to survive from the early 

seventeenth century. Its three airs, 

probably by composer Hans Leo 

Hassler (baptized I564-I612), the elder 

Bidermann's teacher and once keeper 

of the knowledge of pinning barrels in 

Augsburg, are stored on the original 

pinned cylinder. Most cylinders and 

their tunes were replaced by subsequent 

generations, but this one was spared to 

provide us with an extremely rare 

musical document that allows us to 

hear the airs as they were played in the 

seventeenth century. 

JKM 

Pietro da Cortona (Pietro Berrettini) 

Italian, 1596-1669 

Landscape with Wine Harvest 

I63os 

Brush and gray wash, touches ofpen and 

brown ink, over traces of black chalk, 

with an illusionistic frame drawn in yellow 

and brown wash, on off-white laid 

paper 

14/16 X i9] 6 in. (36.7 x 48.9 cm) 

Purchase, 2002 Benefit Fund, 2003 


20

A work of the artist's mature years, this composition 

was probably a presentation piece for 

a patron, judging from its high degree of 

finish and virtuoso technique. The drawing 

was painted almost entirely with the tip of 

the brush to obtain delicately pictorial effects 

of light (for example, in the rays emanating 

from between the clouds) and an atmospheric 

conception of space. 

The sheet portrays an idyllic, classically 

inspired scene in which the scale and the 

robust vegetation of the landscape, with 

ancient Roman ruins and distant towns and 

farmhouses, overpower the small figures of 

the farm laborers harvesting grapes in the 

foreground. The dynamic presentation of the 

scene and the dazzling technical skill seen 

here explain Pietro da Cortona's stature as 

one of the most innovative landscapists in 

Baroque art. 

With its obvious reference to the seasonal 

bounties of autumn, the drawn scene may 

have been made in connection with a painting 

cycle (in fresco or on canvas) to decorate 

the interior of a villa or palazzo. During the 

I63os Pietro da Cortona was engaged in a 

number of villa decorations in Rome and the 

surrounding countryside and was also at 

work on the festive mythological frescoes in 

the Pitti Palace in Florence. 

CCB 

Anthony van Dyck 

Flemish, 599-I 64I 

Landscape with a Tree and a Farm 

Building 

1632 () 

Pen and brown ink, brush and brown ink, 

on fine laidpaper 

II Y, x 7 Y in. (29.7 x Ip.8 cm) 

Signed and dated (lower right): A: van dyck 

F. i6. , cut awayl 


Gift of Dr. Mortimer D. Sackler, Theresa 

Sackler and Family, and Promised Gift of 

Leon D. and Debra R. Black, zoo3 


In vigorous, yet controlled lines of pen and 

brown ink with virtuoso washes Van Dyck 

created a stunning depiction of a simple tree 

before a farm building. Although he is not 

widely known as a landscapist, documentary 

records and surviving works like this one 

imply that he concerned himself with landscape 

as much as did his master, Peter Paul 

Rubens (1577-I640), whose landscapes have 

always stood in high regard. 

The inscribed date is not fully legible, 

but the sheet probably belongs in the early 

I63os, after Van Dyck's extensive Italian travels 

(I62I-27). The drawing reflects his great 

admiration for such Italian masters as Titian 

and Guercino. In all likelihood it was a study 

after nature. It might have been made in 

preparation for the background in a painting, 

although such a painting is not known. MCP 

21

Balthasar Permoser 

German, I651-1-732 

Bust ofMarsyas 

Ca. I68o-85 

Marble, o n ebony socle inlaid with 

marble panels 

H. (bust) 21 in. (54.4 cm) 

Rogers Fund and Harris Brisbane Dick 

Fund, 2002 

2002.468 

Permoser's grimacing and contorted stone 

figures decorating the facades of the Zwinger 

Palace in Dresden (1717/I8) embody the 

German Baroque in sculpture. The sculptor's 

high Baroque style is forecast by this agonizingly 

expressive bust of Marsyas, carved in 

Italy early in his career. The bust reveals his 

absorption of the style of Gianlorenzo Bernini. 

The tortured expression of the screaming 

satyr Marsyas, flayed alive after losing a musi- 

cal contest with the god Apollo, responds 

especially to Bernini's Damned Soul of I6I9 

(Palazzo di Spagna, Rome). Here the savage 

face riven by clenched brows and eyes squinting 

in pain, however, is distinctly Permoser's 

own creation. Deliberately rough, flamelike 

hair contrasts excruciatingly precise details 

like the torn tongue. The bust's unfinished 

back and emplacement for a bracket suggest 

that it was originally intended for a niche, 

perhaps in a palace courtyard. 

Iw 

22

EUROPE 

1700 - 1900 

Herman Henstenburgh 

Dutch, 1667--726 

Vanitas Still Life 

Ca. 700o 

Watercolor and gum arabic on parchment 

1 x II in. (33 x 27.9 cm) 

Inscribed on the music: Blyschap van my ex 

(Joy is leaving me []) 

Purchase, Anonymous Gift, in memory of 

Frits Markus, and Frits and Rita Markus 

Fund, 2003 


Henstenburgh, a pastry chef by profession 

and an artist only in his free time, was one 

of the most skillful masters of the late- 

seventeenth- and early-eighteenth-century 

tradition of the scientifically precise water- 

color still life. His work was much sought 

after at the time by Dutch and foreign collec- 

tors. For example, by 1700 Cosimo III de' 

Medici already owned three of his drawings. 

This sheet depicts a vanitas or memento 

mori still life. The skull, the bone, the just- 

extinguished candle, the toppled hourglass, 

and the flower garland all refer to the fragility 

and brevity of life. Henstenburgh executed 

the drawing through extremely delicate 

and precise layers of watercolor and gouache, 

which almost glow as a result of the 

heightening with gum arabic. His use of the 

finest parchment added to the effect of this 

Feinmalerei (painting with minute details and 

in a polished style). 

MCP 

Pair of Candlesticks 

Swedish (Uppsala), ca. 1710-20 

Silver, partially gilt 

H. 8S in. (21.5 cm) 

Stamped (on rim offoot) with the mark of an 

unidentified silversmith: RW 

Purchase, Friends of European Sculpture 

and Decorative Arts Gifts, 200oo 

2003.47.1, .2 

Early-eighteenth-century Swedish silver of 

such a commanding quality is exceedingly 

rare. These refined candlesticks reflect the 

stylistic adaptations and the high standard of 

craftsmanship of the master gold- and silversmiths 

in Uppsala, a northern European uni- 

versity town. The objects' delicate ornamental 

vocabulary constitutes an elegant and refreshing 

version of what could be defined as a 

Swedish interpretation of the style of French 

designer Jean Berain. 

In I687 Swedish architect Nicodemus 

Tessin the Younger (i654-1728) visited 

Versailles and was fired with a deep admira- 

tion for the elaborate trappings with which 

Louis XIV was enshrining himself as absolute 

monarch. Later Tessin, responsible for the 

design of the New Royal Palace in Stockholm, 

was able to create one of the finest examples 

of the contemporary French idiom, mirroring 

now the exalted and powerful position of the 

Swedish king in northern Europe. French 

artists participated in the palace's interior 

decoration and thus influenced local artisans 

such as the maker of these candlesticks. 

The octagonal, incised lobbed stand of 

this candlestick form, however, is more 

closely associated with German silver, especially 

with pieces made in Augsburg. The 

goldsmith may have encountered such models 

and patterns during the requisite travels as 

a journeyman before becoming a master of 

the Uppsala silversmith guild. 

WK 

23 




www.jstor.org

mistress, Madame de Pompadour, the parks 

and gardens of Bellevue, Crecy, and La Celle 

Saint-Cloud. There are two other portraits of 

Garnier, a preparatory study (Saint-Quentin) 

and a closely related finished pastel with the 

sitter in a gray watered-silk coat (Fogg Art 

Museum, Harvard University, Cambridge). 

This portrait, in which the passementerie is 

worked in gouache, is notable for its subtle 

silvery palette. 

KB 

Pair of Wall Lights 

German (Berlin, Royal Porcelain 

Manufactory), ca. 1765-68 

Hard-paste porcelain, gilt bronze 

H. i8 in. (47 cm) 

Wrightsman Fund, 2002 

2002.437.1, .2 

Maurice Quentin de La Tour 

French, 1704-1788 

Jean Charles Garnier d'Isle 

Ca. I75o 

Pastel and gouache on blue laidpaper, 

laid down on canvas 

z2 5Y x 20z' in. (64. x 51.1 cm) 

Purchase, Walter and Leonore Annenberg 

and The Annenberg Foundation Gift, 

2002 

2002.439 

personalities. His work had not previously 

been represented in the Museum. 

Until 2001 this pastel belonged to a descen- 

dant of the sitter, Jean Charles Garnier d'Isle 

(I697-I755), 

who held the title dessinateur des 

jardins du roi and who designed for the royal 

Frederick the Great was an ardent champion 

of the Rococo style, which flourished in and 

around Berlin under his patronage. The 

northern German version of the Rococo was 

characterized by a pronounced asymmetry 

and exaggeration of form, a preference for a 

combination of rich materials, and the use of 

strong colors, qualities that distinguished the 

Rococo associated with Frederick's court 

from that of France and southern Germany. 

A specific characteristic of Frederick's 

Rococo taste was a prominent use of naturalistic, 

boldly sculptural flowers. Those that 

dominate the design of this pair of wall lights 

are a hallmark of the Royal Porcelain 

Manufactory, which Frederick established in 

1763 on acquiring a struggling porcelain 

Portraiture in pastel was a refined, sophis- 

ticated, and popular art form in eighteenth- 

century Europe, and La Tour was the leading 

French exponent of the genre. A native of 

Saint Quentin, he settled permanently in Paris 

in 1727. Much influenced by the Parisian work 

of the Venetian pastelist Rosalba Carriera 

(1675-i757), he determined to specialize in 

that medium. His contemporaries admired 

his ability to capture character and expression, 

and his patrons included members of the royal 

family, the court, and the haute bourgeoisie, 

as well as artists, writers, and theatrical 

24

factory. The wall lights, among the most ambitious 

objects made at the new factory, are brilliantly 

conceived as a pair. The back plates are 

mirror images, and many of the same flowers 

appear on both wall lights, on one depicted 

with the blossoms open and on the other with 

them closed. Among the flowers are peonies, 

tulips, carnations, roses, and columbine, 

and their modeling, whether in low relief or 

in three dimensions, represents a tour de 

force of porcelain production in the 

eighteenth century. 

JHM 

Augustin Pajou 

French, 173o- 80o 

Head of a Bearded Elder 

1768 

Terracotta, on a socle of bleu turquin marble 

H. (head) 21r, in. (54 cm) 

Incised on the proper right shoulder, before 

firing: Pajou/fe 1768 

Purchase, Lila Acheson Wallace Gift, 2003 


The precise meaning of this bristling 

elder remains to be determined. 

Suggestions for his identity have 

ranged from Aristotle to Moses to a 

retired pugilist. The work fits within 

the French academic tradition of mod- 

Gabriel-FranSois Doyen 

French, 1726-8o06 

The Deliverance of Cybele, an 

Allegory of the Seasons 

I773 

Pen and black ink, brush and brown 

eling heads to express various passions, 

but which could this belligerent character 

personify Barely controlled rage, 

perhaps, but what does the mantle 

connote The ancient marbles that are 

most like the head in conveying crossness 

and contempt represent philosophers 

of the Cynic school, but they do 

not wear mantles. 

In the end perhaps the main subject 

is the model himself, no doubt an 

wash, heightened with white gouache, 

over black chalk underdrawing, on 

off-white antique laidpaper 

25 8 x iS/i in. (65.6x 46.4 cm) 

Collector's mark of Germain Seligman 

(not in Lugt) at bottom edge, left of center 

Purchase, Van Day Truex Fund, and 

Partial and Promised Gift of 

Lansing Moore, 200oo 

2002.450 

Italian; during and after his study years 

in Italy (1752-56), Pajou drew and modeled 

similar types, aged but vigorous, 

hirsute and ornery. Our head, carried 

Doyen was one of the most promising 

young artists of the generation that 

came of age in the last decades before 

the French Revolution, a period when a 

I I 

K F- 

JPI** 

^ 

,: :X. k_^ 

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out with canny asymmetrical adjustments 

of the clay, is the most mesmerizing 

of these exercises. Unrecorded until 

it was auctioned last year in Paris, it was 

totally unknown to the authors of the 

Museum's I998 "Augustin Pajou" exhi- 

bition but will figure in next year's 

"Playing with Fire: European Terracotta 

Models, 1740 to 1840." 

JDD 

vigorous neo-Baroque style was gain- 

ing ground against the waning popu- 

larity of the Rococo. This large, 

painterly Allegory of the Seasons was the 

first drawing he exhibited in the bien- 

nial Salons held at the Louvre. 

The goddess Cybele, identified by 

her turreted crown and lion-drawn 

chariot, represents Earth, but also fer- 

tility and vegetation. In Doyen's image 

25

she is rendered powerless, beset by the 

frost of winter. The arrival of Jupiter 

Pluvius, god of the rains, with his outstretched 

arms and flowing hair, signals 

the return of spring, or Cybele's 

deliverance. 

The drawing was commissioned by 

the duchesse de Choiseul, whose husband 

had been exiled to Chanteloup 

following the death of his supporter, 

Madame de Pompadour. It has been 

suggested that Cybele's predicament 

was intended as an allegory for the banishment 

of the duc de Choiseul, whose 

wife hoped that his return, like Cybele's, 

would be imminent. In fact, Choiseul 

remained a popular figure in Paris dur- 

ing his exile and did return following 

Louis XV's death in 1774. PS 

Ignaz Josef Wiirth 

Austrian, first mentioned 1769, d. 1792 

Pair of Wine Coolers 

Austrian (Vienna), marked I78 

Silver 

H. II ' in. (28.9 cm) 

Purchase, Anna-Maria and Stephen 

Kellen Foundation Gift, 200oo 

2002.26.6Ia, b; .2a, b 

The wine coolers formed part of the 

now dispersed so-called Second Duke 

of Sachsen-Teschen Service, which 

originally included all kinds of silver 

tableware as befit the splendor of royal 

dining. The overall style is indebted to 

French Neoclassical designs and encapsulates 

the strong appreciation of con- 

temporary French art and culture by 

the patrons, Duke Albert Casimir of 

Sachsen-Teschen (d. 1822) and his consort, 

Archduchess Maria Christina of 

Austria (d. 1798), sister of Queen 

Marie-Antoinette and daughter of 

Empress Maria Theresa. Nonetheless, 

the vigorous design, the sparkling play 

of textures, and the daring juxtaposition 

of classical elements with whimsical 

sculptural details embody the 

freshness of the Viennese interpretation 

of high-style French Neoclassicism. 

In 1780 the duke and archduchess 

were appointed joint governors of the 

Austrian Netherlands. Imperial court 

goldsmith Wiirth created a magnificent 

service that fully exploited the lightreflective 

quality of the precious metal. 

Draped around the wine coolers' bodies 

are lion skins, which refer to Hercules' 

wearing the skin of the Nemean lion as 

a symbol of his strength. The lion skins 

also teasingly evoke insulation of the 

coolers. The trophies and grapevines 

symbolize Bacchus, god of wine and 

erotic ecstasy, representing the triumph 

of the pleasures of life over an ancient 

symbol of worldly power. 

WK 

26

Workshop of David Roentgen 

(manufacturer of case) 

German, 1743- 807 

Attributed to Elie Preudhomme (movement) 

German (b. Switzerland), first mentioned i776 

Clock 

German (Neuwied), ca. i78o-90 

Oak, pin mahogany, brass with partial slight 

residue ofgold lacquer, and gilt-bronze mounts 

(dialframe); enamel (dial); brass and steel, silk 

suspendedpendulum (movement) 

H. I8Y4 in. (46.4 cm) 

Gift of The Ruth Stanton Family 

Foundation, 

2002.237 

200oo2 

From 1768 until about 1792 Roentgen's 

workshop was among Europe's most successful 

cabinetmaking enterprises, employing 

more than a hundred specialized workers. 

Having secured, with his stylish products that 

often incorporated intriguing mechanical 

devices, nearly all of the western European 

courts as clients, Roentgen traveled to Saint 

Petersburg in I783. Baron Melchior Grimm, 

Parisian art adviser to Empress Catherine the 

Great, had recommended Roentgen to her; 

receiving him, she was impressed by his ingenious 

creations. Recognizing their impeccable 

quality and superb architectural design, 

Catherine instantly became his most important 

client. The empress and the Russian 

nobility who embraced her taste purchased 

hundreds of superbly crafted pieces of furniture 

in the Neoclassical style. Indeed, Roentgen's 

creations would influence Russian 

furniture making for several decades to come. 

The graciously proportioned case of this 

clock, with its simple and noble decoration, 

reflects the late Roentgen style, distinguished by 

fine-grained mahogany embellished with brass 

inlay and gilded mounts. The dial is signed 

Jean Thomas /Petersbourg. Thomas was a Swiss 

clockmaker who lived in Saint Petersburg in the 

early nineteenth century, repairing and trading 

clocks of various manufacturers. 

WK 

Thomas Girtin 

British, i775-I802 

St. Paul's Cathedralfrom St. Martin'sle-Grand 

Ca. i795 

Watercolor, pen and black ink, over graphite, 

on white wove paper 

I934 x 14 8 in. (48.9 x 37.8 cm) 

Purchase, Sir Edward Manton Gift, 2oo2 

2002.435 

St. Paul's Cathedralfrom St. Martin 's-le-Grand 

conveys the excitement of its genesis. In the 

mid-I79os Girtin had concluded his apprenticeship, 

debuted at the Royal Academy in 

London, found supportive patrons, and befriended 

his exact contemporary (and sometimes 

rival) J. M. W. Turner. Certain elements 

of the scene the Canaletto-like staccato outlines, 

the Piranesi-like strident shaft of light, 

and the Cozens-like atmosphere-reveal 

the inspiration of earlier masters. But other 

aspects-its depiction en plein air, its heroic 

presentation of people at work, and its vibrant 

palette-appear entirely Girtin's own. 

Indeed, the very space depicted in this 

view links it to the artist: At the time he 

made it, Girtin lived with his mother at number 

2 St. Martin's-le-Grand, where he must 

have drawn the scene that lay outside his front 

door. Significantly, this watercolor appears to 

have remained in the artist's family after his 

early death from asthma at the age of twentyseven; 

in 1815 Girtin's brother, John Girtin, 

published a reproductive engraving after it. 

EEB 

27

the values and aesthetics of the ancien regime 

competed and coexisted with those of the 

founding republic. 

This jockeying for position between the 

old and new elites gave birth to a variety of 

hybrid or transitional styles of dress, of which 

this suit is an outstanding example. Its simple 

lines recall the cool Neoclassicism of the 

Enlightenment, while its complete absence of 

decoration reflects the Anglomania of the 

I780s. Yet the opulence of ancien regime court 

dress remains in its luxurious fabric and 

effervescent color. The stand-up collar is also a 

vestige of the old order, although its exaggerated 

height anticipates the styles of the incroyables. 

Like these giddy young men of the 

mid- to late 1790s, the wearer of this suit was 

almost certainly an elegant, an "enlightened" 

aristocrat who hid his anti-Jacobin tendencies 

by adopting the puritanical design vocabulary 

of the republicans. 

AB 

Baron Antoine-Jean Gros 

French, 1771-1835 

Franfois-Pascal-Simon 

Baron Gerard 

1790 

Oil on canvas 

Gerard, later 

22a8 X i8/8 in. (56.2 x 47.3 cm) 

Gift of Mrs. Charles Wrightsman, 200oo 

2002.441 

Both Gros and Gerard were favored students 

in the rough-and-tumble fraternity that was 

the atelier of Jacques-Louis David. Intense 

friendships and near-fatal rivalries developed 

in the heady environment that mixed revolu- 

tionary politics with cutthroat professional 

competition. Later, in the early nineteenth 

century, Gerard would become court portraitist 

to Napoleon and Josephine, while 

Gros would become the chief propagandist 

of the empire's military exploits. 

Gros probably made this sensitive and delicate 

portrait in Paris before Gerard departed 

for study in Rome in September 1790; Gerard 

Man's Three-Piece Suit 

French, ca. 1790 

Tailcoat, waistcoat, and breeches ofgreen silk 

velvet with green andyellow silk brocade and 

ivory silk twill and ivory linen lining 

L. (jacket at center back) 4 Y4 in. (I04 cm) 

Purchase, Irene Lewisohn Bequest, 2003 

2003.45a-c 

The dualities that characterized male fashion 

in the early Napoleonic period are captured 

in this striking ensemble. Under the disintegrating 

forces of the French Revolution 

(1789-94), the eighteenth-century confidence 

in its uniformity of aesthetic beliefs disappeared. 

Social and political reforms resulted 

in new patterns of consumption and new 

forms of self-expression. For a time, however, 

28

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---. It .-!_t,:,.d.""';bErr;i 

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reciprocated with a handsome portrait of 

Gros in the wide-brimmed hat favored by rev- 

olutionaries (Musee des Augustins, Toulouse). 

Even though the friendship was broken in 

January I793, when Gerard denounced Gros 

for contemplating emigration, potentially an 

accusation of treason, each artist kept his portrait 

for the rest of his life. The present portrait 

of Gerard remained with his descendants 

until recently. 

This canvas, the first by Gros to enter the 

Museum's collection, joins Gerard's magnificent 

portrait of Madame Charles-Maurice de 

Talleyrand-Perigord (acc. no. 2002.31), also 

given by Mrs. Charles Wrightsman. GT 

Caspar David Friedrich 

German, 1774-I840 

Eastern Coast of Riigen Island with 

Shepherd 

I8o5-6 

Sepia ink, sepia wash, white gouache, and 

graphite on off-white wove paper 

24 4 x 39 in. (61. 6 x 99 cm) 

Purchase, several members of The 

Chairman's Council Gifts and Fletcher 

Fund, and Promised Gift of Leon D. and 

Debra R. Black, 200oo 

2002.26o 

The landscape depicts the German island of 

Riigen, in the Baltic Sea, north of the city of 

Greifswald, the artist's birthplace. This austere 

island, which according to some visitors 

offered more to the mind than to the eye, had 

been a favorite haunt of Friedrich's since his 

first visit in I798-99. 

The size and relative prominence of the 

old shepherd leaning on his crook is singular 

here; he is a precursor of the artist's large 

pensive figures seen from the back that would 

not appear in his oeuvre until ten years later. 

This sheet belongs to a group of sizable 

sepia drawings, all dating from 1803 to i806, 

that Friedrich composed before taking up oil 

paints in I807. These works' large sizes and 

independent compositions give them nearly 

the status of paintings within Friedrich's 

oeuvre and brought the artist early fame. MCP 

29

Simon-Joseph-Alexander-Clement Denis 

Belgian, 1755-i813 

View on the Quirinal Hill, Rome 

Signed and dated (on back) i8oo 

Oil on paper, laid down on canvas 

IIs8 x 16'8 in. (29.5 x 41 cm) 

Jean-Charles-Joseph Remond 

French, i795-I875 

View of the Colosseum and the Arch of 

Constantine from the Palatine 

Ca. 1820 

Oil on paper, laid down on canvas 

II4 

x 15/4 in. (28.6x 38.7 cm) 

Jean-Baptiste-Camille Corot 

French, I796-i875 

Waterfall at Terni 

Ca. 1834 

Oil on paper, laid down on wood 

0oY2 x z128 in. (26.7 x 30.8 cm) 

The Whitney Collection, Promised Gift of 

Wheelock Whitney III, and Purchase, Gift 

of Mr. and Mrs. Charles S. McVeigh, by 

exchange, 2003 

2003.42.20, 2003.42.48, 2003.42.13 

Over the last quarter century, one of the 

most significant developments in the study 

of nineteenth-century European paintings 

has been the new appreciation of the importance 

of plein-air (outdoor) oil sketches to 

the creation of the Realist and Impressionist 

landscape aesthetic. Several such works by 

Francois-Marius Granet, Achille Michallon, 

and Theodore Caruelle d'Aligny, arresting in 

their limpid, impromptu style, have been 

featured in these pages, but the acquisition 

of the Whitney collection brings to the 

Metropolitan a comprehensive survey of 

sketches painted between I790 and I840 by 

all the notable French and Belgian artists 

who worked in this medium. 

The collection of fifty-six works, assembled 

by Mr. Whitney over the last thirty 

years, reveals a tradition that begins with the 

eighteenth-century painters who established 

important prototypes, Pierre-Henri de 

Valenciennes, Jean-Joseph-Xavier Bidauld, 

and Alexandre-Hyacinthe Dunouy, and features 

six of the rare sketches by the Belgian 

artist Simon Denis, widely regarded as the 

best practitioner about I8oo. But the primary 

emphasis is on the French artists who 

received from the academy in Paris the Rome 

Prize to study landscape painting in Italy, 

Michallon, Charles Remond, and Andre 

Giroux, as well as related artists, such as Corot, 

who traveled to Italy independently. Although 

the tradition of plein-air painting is most 

closely associated with views by northern 

artists working in Italy, the Whitney collection 

includes fine studies made in more exotic 

locales, such as Luxor (Antoine-Xavier-Gabriel 

de Gazeau), Beirut (Jules-Louis-Philippe 

Coignet), and Seville (Adrien Dauzats). 

The collection also includes a group of 

finished works depicting brigands and 

aspects of Italian peasant life, a genre practiced 

by Leopold Robert and other artists in 

the so-called L'Ecole de Rome an international 

sensation in the first quarter of the 

nineteenth century, now almost completely 

forgotten. With sketches and small pictures 

by figure painters like Louis-Vincent-Leon 

Palliere, Leon Cogniet, Horace Vernet, 

and Henri Lehmann, the collection provides 

a complete overview of the life and work 

of European artists who gravitated to 

Italy to learn their craft and experience the 

eternal motifs of Rome, Naples, and their 

surrounding countrysides. 

GT 

30


3I

Schnorr von Carolsfeld 

German, 1794-i872 

Charles the Great's Entrance into Pavia 

1840 

Black chalk, graphite, and brown ink washes, 

red chalk, brush and red watercolor on offwhite 

laidpaper; squaredfor transfer in 

graphite with numerical indications of vertical 

divisions at the lower edge 

I8Y4 X 25 /4 in. (46.3 x 65.4 cm) 

Purchase, Anna-Maria and Stephen Kellen 

Foundation Gift, zoo3 


a 

4(3._. 

^^1 1^^, 

Standing Cup (coupe Chenavard) 

French (Sevres), 1837 

Hard-paste porcelain 

H. 12 s in. (32.7 cm) 

Purchase, Friends of European Sculpture 

and Decorative Arts Gifts, 2003 


I 

'~~~~~~4~ v 

This monumental drawing depicts the con- 

quest of Pavia, the capital of Lombardy, by 

the young Frankish king Charles (Charlemagne; 

742-814) in 774. With that victory Charles 

ended a war with the Lombards that had lasted 

for decades. Charles is seen entering the city on 

horseback in front of an antique arch. On the 

left, pushed into the corner, the Lombard king 

Desiderius is almost defeated. Desiderius is 

depicted committing sacrilege, with one foot 

planted on a church chest. On the right ecclesi- 

astics surge toward their liberators. 

The sheet is a characteristic work of Julius 

Schnorr von Carolsfeld, a versatile painter 

and draftsman who belonged to the group of 

German artists known as the Nazarenes. The 

drawing was Schnorr's design for a large wall 

painting in the Munich royal palace, the 

Residenz. Since the painting was executed by 

one of Schnorr's pupils and was destroyed in 

World War II, this sheet and the full-size 

working drawing (Dresden) are the artist's 

final statement on the subject. MCP 

The Sevres factory developed this model of 

standing cup in I836 and named it after its 

designer, Aime Chenavard. Both its form 

and its decoration refer directly to French 

Renaissance metalwork and ceramics, and 

indeed one of the first coupes Chenavard produced 

was described in factory records as 

"a goblet in the i6th century style." 

The low-relief interlace patterns of the 

Julius 

coupe are derived from those found on a type 

of French Renaissance pottery known as 

Saint-Porchaire ware. The first piece of Saint- 

Porchaire pottery to be identified as dating to 

the sixteenth century was sold at auction in 

Paris in I837. It has been suggested that the 

then director of the Sevres factory was aware 

of its existence prior to the sale and used it as 

a source of inspiration for the coupe Chenavard. 

The exuberant color scheme of the coupe, 

however, is far removed from the restrained 

palette of white and browns that characterizes 

Saint-Porchaire pieces and reflects its nineteenth-century 

origin. 

This coupe was likely the second one 

produced at Sevres. Archival records indicate 

that a coupe with this distinctive orange red 

ground was delivered to Queen Marie- 

Amelie, wife of King Louis Philippe, in 

August I837. 

JHM 

32

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colors to make the figure nearly monochrome, 

and by abandoning Ingres's meticu- 

lous naturalism for a stylized depiction of 

sitter and setting. 

Charlotte de Pange was born in I816. At 

twenty-one she became the second wife of 

Armand-Charles-Septime de Fay, comte de 

La Tour-Maubourg, a lifelong diplomat. In 

1840 she posed in her garden at the Palazzo 

Colonna in Rome: the domes of the churches 

in Trajan's Forum and the top of the 

Colosseum, dark ocher in the light of sunset, 

are visible at right. 

When the portrait was shown at the 1841 

Salon, critics objected to the expressive 

elongation of the head, the gazellelike eyes, 

the pallor of the skin, and the delicacy of the 

hands-qualities that today make the picture 

seem so remarkable. 

GT 

Pierre-Auguste Renoir 

French, 184-I9rp9 

The Daughters of Catulle Mendes, 

Hughette (I871-1964), Claudine 

(I876-I937), and Helyonne (1879-1955) 

i888 

Oil on canvas 

6334 x 51i8 in. (161.9 x I29.9 cm) 

The Walter H. and Leonore Annenberg 

Collection, Gift of Walter H. and Leonore 

Annenberg, 1998, Bequest of Walter H. 

Annenberg, 2002 

1998.325.3 

Theodore Chasseriau 

French, 1819-i856 

Charlotte de Pange, La Comtesse de 

La Tour-Maubourg 

Oil on canvas 

52 x 37'4 in. (132.1 x 94.6 cm) 

Signed and dated (lower left): T. Chasseriau / 

Rome 1841 

Wrightsman Fund, 2002 

2002.2291 

For Chasseriau, the portrait of the comtesse 

de La Tour-Maubourg, wife of the French 

ambassador to the Holy See, represented the 

subtle defiance of his master, J. A. D. Ingres. 

As a three-quarter-length portrait of the wife 

of a powerful official-young, beautiful, 

wellborn, and elaborately costumed-it conforms 

precisely to Ingres's method. However, 

the twenty-two-year-old artist subverted 

Ingres's approach by casting a melancholic 

mood over the painting, by banishing bright 

In I991 Ambassador Walter H. Annenberg 

announced his intention to bequeath to the 

Metropolitan the collection of fifty-three 

Impressionist and Post-Impressionist paintings, 

watercolors, and drawings that he and 

his wife, Leonore, had formed. Since I993 the 

Annenbergs have lent their collection to the 

Museum for half of each year, delighting literally 

millions of visitors. With the death of 

Ambassador Annenberg last year, the pictures 

will remain permanently in the specially built 

Annenberg Galleries. 

Its impact on the Museum's collection 

begs comparison with the great bequests of 

French painting made by Louisine 

Havemeyer (I929), Stephen C. Clark (I960), 

and Robert Lehman (I975), although the 

Annenbergs acquired their pictures much 

34

later, when such works had become infinitely 

rarer and more expensive. In many ways, the 

group provides the perfect complement to 

the Museum's existing holdings: exceptional 

canvases by Degas, Fantin-Latour, Manet, 

Monet, Renoir, Seurat, Toulouse-Lautrec, 

Vuillard, and, in the twentieth century, 

Bonnard, Braque, Matisse, and Picasso. But 

with its glorious paintings by Cezanne, Van 

Gogh, and Gauguin-from Cezanne's Mont 

Sainte-Victorie, to Van Gogh's Wheat Field 

with Cypresses, to Gauguin's The Siesta--the 

Annenberg collection brings incomparable 

masterpieces to what was already one of the 

most extensive assemblages of French painting 

in the United States. Ambassador 

Annenberg's motto, "From Strength to 

Strength," perfectly characterizes his bequest 

to the Metropolitan. 

GT 

35

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Victor Hugo 

French, 1802-1885 

The Hanged Man 

Ca. i855-60 

Brush and brown ink wash on wove paper 

12 x 7/8 in. (30o. x 19.5 cm) 

Gift of Kristina and Guy Wildenstein, 

2003 


The thunderous gloom of Hugo's novels 

pervades just as effectively his shadowy 

sketches, most of which were penned while 

the author lived in exile on the Channel 

Islands. He witnessed a hanging there in I854 

and afterward began drawing dead men suspended 

from gallows, a practice that seems 

to have been intensified by reports of the 

execution of abolitionist John Brown in 

America in I859. 

Guided by impulse rather than by plan, 

Hugo often diverted his inks from writing 

prose or verse to shaping obscure imageswith 

a very free hand. He viewed such drawings 

as mere distractions, but other writers 

and artists, such as Baudelaire and Picasso, 

have admired their singular, intuitive force. 

Indeed, because each new generation of 

artists comes to admire the surreal, abstract, 

or impromptu nature of Hugo's pictorial art, 

the Museum welcomes its first acquisition of 

one of his drawings. 

cI 

36

NORTH 

AMERI C A 

1700-1900 

John Singleton Copley 

American, 1738-1815 

John Greenleaf 

Ca. 1753-54 

Oil on canvas 

212 x 1X4 7 in. (54.6 x 45.1 cm) 

Partial and Promised Gift of Stuart and 

Rhoda Holzer, 2002 

2002.611 

Elizabeth Greenleaf 

Ca. 1753-54 

Oil on canvas 

21/2 x 174 in. (54.6x 45.1 cm) 

Partial and Promised Gift of Marc Holzer, 

2002 

2002.612 

While there is no doubt of Copley's innate 

talent, these very early portraits give new 

meaning to the term precocious. At the age of 

fifteen, with no formal training, almost no art 

to study, and before he had established his 

professional practice, Copley could not only 

paint quite skillfully but also knew that his 

patrons desired accurate and richly embel- 

lished likenesses. The handsome siblings, 

offspring of John and Priscilla Brown Greenleaf 

of Boston, wear just the sort of elaborate, 

inventive costumes that became the artist's 

forte in his portraits of adults. Miss Greenleaf, 

who would have been five or six at the time, 

is dressed in a white satin, closed-robe gown 

with three-quarter sleeves, a bodice with stays 

and a five-jewel brooch, and a white skirt. 

Copley derived four-year-old Master 

Greenleaf's exotic cap and the pose with a 

lamb from John Smith's I704 print after 

Sir Godfrey Kneller's portrait of Lord Bury 

as a child. He also painted a third sibling, 

Priscilla (private collection). There is some 

speculation that he executed the portraits 

posthumously, as at least one report suggests 

that all three children died of laudanum 

poisoning in 1751 at the hand of a negligent 

maid. 

CRB 

37 




www.jstor.org

Anna Claypoole Peale 

American, I79r-1878 

Sarah Ann Beck 

Ca. i818 

Watercolor on ivory 

3 x 2'2 in. (7.6x 6.4 cm) 

Dale T. Johnson Fund, 200oo 

2002.292 

Anna Claypoole Peale (later Mrs. James 

Staughton) was the daughter of portraitist and 

miniature painter James Peale. She studied 

with her father, assuming his practice when 

his eyesight failed, and became an accomplished 

miniaturist-indeed the most accomplished 

female painter in her distinguished 

family of artists. Her enchanting portrait 

of Sarah Anne Beck (1804-1877) of York, 

Pennsylvania, holding her pretty green parasol, 

is a fine example of Peale's early work, 

showing off her expert technique in an intricate 

composition. The miniature is in its original 

leatherette case with a white satin lining. 

Peale painted it just before going on a 

three-month trip to promote her skills in 

Washington, D.C., with her uncle Charles 

Willson Peale, who had great ambitions not 

only for his own children but also for select 

nieces and nephews. From Washington in 

October I818, he reported to his son Rembrandt 

that Anna's "merrit[sic] in miniature 

painting brings her into high estimation and 

so many ladies and Gentlemen desire to sett 

[sic] to her that she is frequently obliged to 

raise her prices." There the elder Peale booked 

sittings with President James Monroe, General 

Andrew Jackson, and other statesmen, while 

Anna looked on and painted miniatures of 

the same distinguished subjects. CRB 

Boston and Sandwich Glass Company 

American, 1825-I888 

Compote 

Sandwich, Massachusetts, ca. 1835-40 

Lacy pressed glass 

H. 6in. (15.2 cm) 

Gift of Mr. and Mrs. Robert Keuffel 

Keller, from the Gretchen Keuffel 

Collection, 

2002.566 

2oo2 

glass. 

The development of the glass press was one 

of the most important innovations to glass 

technology since the invention of the blowpipe. 

In America by the mid-I82os decorative 

molds enabled artisans to fabricate the form 

and ornament of a vessel in virtually one 

motion. Although the earliest decoration 

tended to be geometric and based on patterns 

in cut glass, by the I83os pressed glass often 

featured intricate designs with stippled back- 

grounds, giving a lacy appearance. This compote 

is one of the most elegant examples of 

lacy pressed glass. The undulating rim is scalloped 

and has a ribbon of stippling, producing 

a shimmering effect. The bowl displays 

motifs of scrolls and other classical and 

Rococo elements. 

Pressed glass was fabricated at many 

different glasshouses during the early nineteenth 

century. This compote is attributed to 

the Boston and Sandwich Glass Company, 

one of the country's most successful and 

long-lived factories. It was made by pressing 

the bowl and the base separately; the bowl 

could also have been a stand-alone piece. The 

two parts were joined by a wafer of molten 

Most early pressed glass was clear and 

colorless. Appealing jewel tones, such as this 

brilliant canary yellow, were rare. ACF 

Louis Comfort Tiffany 


Leaded Glass Window 

New York City, i880 

Leaded glass 

332 X 42 in. (85.i x o06.7 cm) 

Gift of Robert Koch, 200oo 

2002.474 

This window is one of the earliest and most 

unusual Tiffany windows known. Made for 

the entrance hall of the designer's own apartment 

at 48 East Twenty-sixth Street, New 

York City, which Tiffany created in 1878, it 

provided a bold artistic statement consistent 

with other innovations of that avant-garde 

space. It is composed of irregularly shaped 

glass in amber, brilliant purple, and varied 

shades of blue, green, and opal. The window 

incorporates some of the earliest kinds of 

glass utilized by Tiffany, including opalescent, 

confetti type, colored crown, and large, 

thick, rough-cut "jewels." 

Although scholars have argued that it is 

one of the first expressions of high art nou- 

veau, it can also be considered protomodern 

in its daringly abstract, nonrepresentational 

composition; it is in stark contrast to the 

illusionistic compositions based on nature 

for which Tiffany is best known. An art critic 

in I880 contended that oil pigments may 

/1.. -- 

I-A~~~~~~~5,17 

/' 

~bT; i .- 

38

design and use of luxurious materials, they 

epitomize the delicacy, opulence, and elegance 

of that room and of the Gilded Age. 

ACF 

Candace Wheeler for Associated Artists 


Portiere 

New York City, ca. I883 

Silk velvet and silk appliqudd and embroidered 

with silk and wool 

II5 X 45 in. (29.2 X 113.3 cm) 

Purchase, Barrie A. and Deedee Wigmore 

Foundation Gift, 2003 


have inspired the piece, suggesting that 

Tiffany conceived of its design by daubing 

"the scrapings of his palette with a view to 

the achievement of accidental effects." ACF 

Herter Brothers 

American, active I864-1906 

Pair of Pedestals 

New York City, I882 

Carved onyx and ormolu 

H. (each) 64 4 in. (15.6 cm) 

Purchase, Barrie A. and Deedee Wigmore 

Foundation Gift, 200oo 

2002.298.1, .2 

Herter Brothers, the leading cabinetmaking, 

design, and decorating firm during the second 

half of the nineteenth century, created 

this pair of opulent pedestals for their most 

prestigious commission, the grand Fifth 

Avenue residence of William H. Vanderbilt. 

Each pedestal is a column carved with ribbons 

and "jewel"-encrusted garlands. Ormolu 

capitals incorporate classical female masks 

and birds' heads; decorative mounts feature 

stylized foliate patterns. They were intended 

as an integral part of the ornate decoration of 

Vanderbilt's drawing room, described in 

1883-84, shortly after its completion, as "gorgeous 

in the extreme: everything sparkles and 

flashes with gold and color-with mother-of- 

pearl, with marbles, with jewel-effects in glass 

-and almost every surface is covered, one 

might say weighted, with ornament." 

The drawing room was unquestionably 

the house's most sumptuous space. It was 

likened to the interior of a richly lined jewel 

box, its walls hung with crimson fabric, 

embroidered with gold thread and jewels of 

mother-of-pearl. Although the pedestals were 

originally part of an extraordinary interior 

scheme long since destroyed, they stand eloquently 

as independent works of art. In their 

The elegant portiere (shown here in a detail) 

is the most recent addition to the Museum's 

collection of more than forty works by this 

innovative artist. It is a companion piece to a 

large embroidery given by her daughter Dora 

Wheeler Keith in 1928 (acc. no. 28.34.I), 

showing a field of purple and gold irises spangled 

with beaded dragonflies. That example 

and our new portiere, with its appliqued and 

embroidered panel of purple and gold pansies 

dappled in sunlight and shadow, were exhibited 

together in a display by Wheeler and her 

new all-woman design firm, Associated 

Artists, in January 1884, at a benefit to raise 

money for the base of the Statue of Liberty. 

One contemporary article described 

our portiere: "'The Pansy Bed' by Mrs. T. H. 

Wheeler, is a good example of distinctly 

original work both in design, color and 

method. The effect is of a pansy bed in its 

greatest luxuriance of color, and shows how 

far towards realism and picturesqueness 

detail 

39

decorative work can be safely carried." The 

portiere has A A embroidered on one of the 

velvet panels, and A A is woven into the selvage 

of the gold silk-damask lining, which is 

patterned with interlacing columbines. AP 

Augustus Saint-Gaudens 

American, I848-I907 

Richard Watson Gilder, Helena de Kay 

Gilder, and Rodman de Kay Gilder 

Modeled i879; cast ca. 1883-84 

Plaster 

8Y x I67s in. (21.9 x 42.9 cm) 

Gift of David and Joshua Gilder, 20oo 

2002.445 

Among Saint-Gaudens's most technically 

innovative sculptures is a charming series of 

low-relief portraits completed during the late 

I87os in Paris. This example, a compact rectangular 

portrait of the Gilder family, modeled 

in May 1879, was the sculptor's most 

ambitious to date. It depicts the sitters in 

shoulder-length profile with Richard Gilder 

facing his wife, Helena, and their two-yearold 

son, Rodman. The Gilders, scions of genteel 

New York society, were close friends of 

Saint-Gaudens's and ardently promoted him 

throughout his career. Richard Watson 

Gilder was a poet, civic activist, and the influential 

editor of Century Illustrated Monthly 

Magazine (I88I-I909); Helena de Kay was a 

still-life painter and a founder of the Art 

Students League of New York. Rodman de 

Kay became an author and married Comfort 

Tiffany, a daughter of Louis Comfort Tiffany. 

This bronze-toned plaster and a bronze 

cast now at the Denver Art Museum were in 

the Gilder family for many years, as was 

a separate bronze relief of young Rodman 

excerpted from the family portrait and acquired 

by the Metropolitan in I994 (acc. no. 1994.50). 

The cast, in its original frame, is the first 

plaster to enter the Museum's extensive 

holdings of this consummate American 

Beaux-Arts sculptor. 

TT 

Louis Comfort Tiffany 

American, I848-1933 

Hair Ornament 

New York City, 1904 

Silver, enamel, black andpink opals, and 

demantoidgarnets 

H. 3'4 in. (8.3 cm) 

Gift of Linden Havemeyer Wise, in 

memory of Louisine W. Havemeyer, 2oo2 

2002.620 

This delicate hair ornament is acknowledged 

to be the most important example of 

Tiffany's jewelry to come to light. It is a singular 

expression of his reverence for nature 

in its fragile state, in the form of two 

dragonflies resting on two dandelion seed 

balls. The dragonflies' backs are composed of 

black opals and the heads are of pink opals 

with demantoid garnet eyes. The wings are 

fine silver filigree. The dandelion seed balls 

are delicate creations of enamel and filigree 

that aptly convey the plant's fragility. One of 

the two is shown as partially blown away by 

the wind. As an extraordinary example of the 

highest skills, it transcends jewelry to become 

a sculptural work of art. The piece is consistent 

with a shift in jewelry production about 

I900, when artists employed semiprecious 

stones and enamels with an emphasis on 

craftsmanship and design. Following the 

French jewelers Lalique and Fouquet, Tiffany 

introduced subjects based on nature, selecting 

insects and common wildflowers. The ornament 

has an unbroken provenance from 

its original owner, Louisine Havemeyer, 

who, with her husband, Henry Osborne 

Havemeyer, was one of Tiffany's most 

ardent patrons. 

ACF 

40

MODERN 

Balthus (Balthasar Klossowski) 

French, I908-2001 

Pierre Matisse 

1938 

Oil on canvas 

51Y4 x 35 in. (130.2 

X 88.9 cm) 

Signed and dated (lower left): Balthus I938 

The Pierre and Maria-Gaetana Matisse 

Collection, 

2002.456.7 

2oo2 

At the age of twenty-four Pierre Matisse 

(1900o-989), Henri Matisse's second son, 

ventured to New York to try his luck as an 

art dealer. In 1931 he opened his own gallery 

in the Fuller Building on Fifty-seventh Street, 

where, until 1989, he introduced the best of 

modern European art to these shores. 

Pierre gave Balthus his first exhibition in 

I938, the year he also posed in the artist's Paris 

studio. After the scandal Balthus's erotic 

paintings had caused in Paris in I934, he concentrated 

on portraits in the succeeding years. 

In these works he mingled truthfulness, stylization, 

and elements of the bizarre. He also 

reduced his palette to a narrow range of 

browns, grays, and blacks, enlivened by an 

occasional patch of red, as here in Pierre's 

left sock. 

The French Pierre Matisse was known 

for his reticence and reserve. Balthus, however, 

depicted him as a jaunty, relaxed 

American with a loud tie. Shortly after 

World War II, the painting disappeared 

from the storage in which Pierre had placed 

it. The portrait resurfaced in I99I, two years 

after Pierre's death. It is one of 124 works 

bequeathed to the Museum by Pierre's wife, 

Maria-Gaetana. 

SR 

4I 




www.jstor.org

Henri Matisse 

French, I869-r954 

Marguerite Wearing a Toque 

1918 

Oil on canvas 

3I2 x 252 in. (80 x 64.7 cm) 

Signed (lower left): H. Matisse 


Collection, 2002 

2002.456. 15 

Marguerite Matisse (1894-1982), Henri 

Matisse's daughter, is remembered as a formidable 

woman. In his numerous portraits 

of her, Matisse always conveyed her strength 

of character. He never idealized her looks. 

Here the twenty-four-year-old Marguerite 

fixes us with an unflinching gaze through her 

almond-shaped eyes. She wears a voluminous 

dark robe with white piping, topped by a fur 

stole, and the blue feather toque is her only 

concession to color and femininity. 

At age six or seven Marguerite suffered a 

life-threatening bout of typhoid that necessitated 

several operations on her neck over the 

next years. The black velvet ribbon covering 

her scars became her trademark. Marguerite 

took up painting, showing her works at the 

Salon des Independants. In the I930s, by 

then married to the Byzantine scholar Georges 

Duthuit, Marguerite and her mother started 

the monumental task of cataloguing Matisse's 

work, an ongoing project, today continued 

by Marguerite's son Claude Duthuit and 

Wanda de Guebriant. 

This portrait remained in the Matisse 

family. Marguerite's younger brother, Pierre 

Matisse, lent the picture only once to an 

exhibition of his father's work. This may 

explain the work's near absence in Matisse 

literature. 

SR 

42

Joan Miro 

Spanish, 1893-I983 

Photo- This Is the Color ofMy Dreams 

1925 

Oil on canvas 

38 x 5- in. (96. x 129.5 cm) 

Signed and dated (lower right): Miro / I925 


Collection, 2002 

2002.456.5 

On the empty white canvas float only black 

letters forming the word "Photo," the sentence 

"ceci est la couleur de mes reves" (this is 

the color of my dreams), and a patch of blue 

paint. If the script evokes a school primer, the 

curlicue lines of"Photo" bring to mind oldfashioned 

provincial shop signs. 

The color blue and the appearance of 

words-independent of their meaningsplay 

large roles in Miro's native Catalan 

culture. Blue signals both hope and dreams. 

Catalan peasants paint the doors of their 

houses blue to signal the interior's sacredness 

and decorate their carts with elaborate 

inscriptions and arabesques. 

This work is the most evocative and written 

about of the artist's peinture-poesie, poetic 

paintings dating from 1924 to 1927, in which 

broad fields of color are animated by just a 

few enigmatic signs. Mir6 created these radically 

different works during a period when he 

was befriending the poets and writers who 

later joined the Surrealist movement. These 

poets, also known as the Rue Blomet group 

after the locale of their meeting place, sparked 

Mir6's already fertile imagination. They 

encouraged him to explore and use as sources 

for his paintings the subconscious, the irrational, 

hallucinations, automatism, and, of 

course, dreams. 

SR 

S 

(1) 

C t-' c (\c t CL iCUI) 

, * "I c'. c C L C O. 

43

;";: 

e:;.l 

-., s . 

It 

wI 

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""-rj. i ru -:._ri-.-- u,Urarc' 

.::_r':.I:. --; 

Alberto Giacometti 

Swiss, 1901-I966 

The Apple 

I937 

Oil on canvas 

283/8 X 293/4 in. (72 X 75.5 cm) 

Signed and dated (lower right): Alberto 

Giacometti I937 


Collection, 2oo002 

2002.456.3 

Giacometti was both a sculptor and painter, 

although until 1946 he devoted himself 

mostly to sculpture. Since he painted only 

about a dozen canvases during the preceding 

decades, it is remarkable that he painted in a 

single year, 1937, two still lifes of a small yellow 

apple. A much smaller, close-up view of 

the apple is in a private New York collection. 

The artist began this still life with several 

apples. According to his brother Diego, how- 

ever, he then decided that one sufficed. The 

one he chose is barely larger than the knob of 

the sideboard's right drawer. Giacometti further 

heightened the drama between the tiny 

fruit and the large rustic sideboard by placing 

them at a distance from the viewer. The interior 

depicts the family's summer house at 

Maloja, Switzerland. The identical reddish 

wood of the sideboard and the wainscoting 

form a warm monochrome background to 

the apple, the yellow hue of which is echoed 

in the strip of wall above. 

In 1936 France celebrated the thirtieth 

anniversary of Cezanne's death with a large 

retrospective exhibition and numerous books 

and articles. Giacometti honored Cezanne 

with two still lifes of an apple. 

SR 

Josef Hoffmann 

Austrian, 1870-g956 

Center Table 

1903 

Ebonized wood, marquetry, marble, nickelplated 

brass 

H. 23/2 in. (59.7 cm) 

Purchase, Lila Acheson Wallace Gift, zoo2 

2002.307 

Hoffmann, the Austrian architect and 

designer, was at the center of the modern 

movement that flourished in Vienna in the 

first decade of the twentieth century. Before 

900o his designs were inspired by the art nouveau 

or Jugendstil emphasis on organic 

motifs and curvilinear forms. In I903, as a 

founder of the Wiener Werkstatte, a company 

of designers, artists, and craftsmen 

who produced luxury objects in the most 

44

In this art nouveau evocation of a German 

Renaissance stoneware jug, the designer took 

his personal style to a dramatic conclusion: 

The body of crystal glass with its stylized cut 

and matte thistle flowers is mounted in three 

slender, root-shaped silver straps descending 

from a wide silver lip decorated with embossed 

thistle motifs. The handle is formed to suggest 

a narrow branch, and the whole is crowned by 

a domed lid. 

This imaginative wine jug was the first of 

many vibrant creations invented by Adler for 

the firm of P. Bruckmann und S6hne, a leading 

European silver manufacturer in the late 

nineteenth and the first half of the twentieth 

century. Adler was unquestionably one of 

the most gifted German designers and sculptors 

of his time. As a professor of applied arts 

and crafts, he taught at the prestigious 

Kunstgewerbeschule in Hamburg from I907 

to I933. In Nuremberg he directed an annual 

master class in design from I9Io to 1913, thus 

influencing a generation of young European 

craftsmen. Adler was dismissed from his 

various positions in I933. In 1942 he was 

deported to Auschwitz, where he died. 

WK 

advanced style, Hoffmann abandoned these 

earlier designs for a revolutionary approach 

based on strict geometry and a rejection of 

historicist decoration. 

This center table dates from Hoffmann's 

most innovative period. Inset white marble 

highlights the octagonal tabletop of ebonized 

wood; the side edges are inlaid with a pattern 

of squares in alternating woods that enforce 

the geometric motifs. Four straight legs meet 

the circular, slightly domed base of hammered 

nickel-plated brass, further emphasizing 

the design's adherence to Hoffmann's 

new ideal forms. This table was part of a 

suite of furniture that included two match- 

ing cubic armchairs and a settee, designed 

for the salon of Alexander Pazzani, an 

important client of Hoffmann's. 

JA 

Friedrich Adler (designer) 

German (I878-between 1942 and 1945) 

P. Bruckmann und Sohne (silver 

manufacturer) 

German (Heilbronn), active i8o5-i973 

Graflich-Schaffgot'sche Josephinen-Hutte 

(glass manufacturer) 

German (Schreiberhau, now Szklarska Poreba, 

Poland), closed 1945 

Wine Jug 

1903 

Silver, andpartially cut glass 

H. 3 /8 in. (34.5 cm) 

Purchase, Rogers Fund and funds from 

various donors, 2oo2 

2002.413 

lJ! 

j - 

45

This example, with its raised waistline, 

vestigial drapery evoking an earlier monobosom 

bodice, and columnar silhouette with a 

faint S-curve, conforms to the styles of I9I0 

at such venerable houses as Paquin, Doucet, 

and Worth. These firms, not as avant-garde 

as that of Paul Poiret (whose innovations 

were embraced by the Viennese intelligentsia), 

reflected the regal conservatism of 

the Hapsburg court. In this instance scrolling 

"bizarre" motifs in silk floss and the 

application of bugle beads lined with pure 

gold create a particularly sumptuous effect. 

Because of the uncommon purity of the 

metal, the beading's brilliance contributes an 

uncanny freshness to the gown's appearance. 

Imile-Jacques Ruhlmann 

French, 1879-s933 

Carpet (design no. 3002) 

Ca. I925 

Wool 

Diam. 8ft. 2 in. (245 cm) 

Purchase, Bequest of Thelma Williams 

Gill, by exchange, 2002 

2002.365 

HK 

The most renowned designer of his day, 

Ruhlmann is still considered the primary 

exponent of high-style French art deco in the 

years after World War I. Though best 

known for extraordinarily luxurious furniture, 

Ruhlmann's firm, Ruhlmann et 

Laurent, could provide any element needed 

for an interior, from architectural settings to 

upholstery textiles. His work set the standard 

for other French designers. 

Ruhlmann's furniture is noted for its rich 

materials, subtlety of line, and exquisite 

craftsmanship; his patterned designs are much 

more flamboyant. The still-vivid palette of 

this carpet-with its sumptuous juxtapositions 

of pink, orange, red, ecru, gray, and 

blue-is typical of his taste for vibrant color, 

which he melded with the swirling abstract 

floral spirals set within a geometric border. 

Ruhlmann's interest in the integration of 

color and pattern has close ties to other 

avant-garde arts of the period, from Fauve 

paintings to the set and costume designs of 

the Ballets Russes. This carpet is the first by 

Ruhlmann to enter the Museum's collection, 

and it joins an important group of his furniture, 

wallpapers, textiles, and lighting that 

forms one of the principal strengths of the 

modern design collection. 

JG 

G. and E. Spitzer 

Austrian, active 1837-1932 

Ball Gown 

Vienna, I9Io-12 

Pink silk satin and emboideredpink silk net 

L. (at center back) 68 in. (r74 cm) 

Purchase, Irene Lewisohn Bequest, 2003 


This ball gown from a collection of dresses 

associated with the duke of Cumberland's 

wife, Thyra, princess of Denmark, and 

his daughters merges the aesthetics of the 

French haute couture with the technical mastery 

of a renowned dressmaking establish- 

ment of early-twentieth-century Vienna. 

G. and E. Spitzer, along with the houses of 

Christoff von Drecoll and Griinbaum, furnished 

the Viennese upper classes with gowns 

reflecting the most recent Parisian trends. 

46

: ~~~owner , 

Hugo Stinnes p870oI924) was the f irst 

of Max Beckmann's famous portfolio 

Hell (i919), of which Night (plate 7) is shown 

at the left. Stinnes acquired Hellin I92n , the 

same year Grosz depicted him in this 

/Stinnes/ 

I7~ r 

Portfolwscathing portrait. 

was one of the most renowned and 

enlightened collectors of drawings and prints 

) :::~~~ I: of his time. He was also one of the most pow- 

a s:::~!}paper: 

;. EachHis rful empire and ruthless was vast industrialists and reached in from 

Germany. 

real 

, 

and 

~~~~~~~~~~i~~~~~Purchase,~estate 

oil concessions in Argentina to 

~Lsequence;mines ~ 

foundries, shipping lines, paper mills, 

banks, and newspapers in Germany. Stinnes's 

;ga~~est ~~ ~~a~~industries profited greatly during World War I, 

and afterward he took advantage of Germany's 

severe economic dislocations to extend his 

Beckmnfactory and business holdings. 

i!~ness:i and paSportcping his customary bowler hat and 

cigar, Stinnes stands here in a rubble of skulls 

~:~~~~~~~~~~~~Thei ~~~~~and bones scattered among the bundles and 

bags of currency at the tycoon's disposal. Since 

War I his 

MaxBearth vividlyexpeWorld n George Grosstz 

power had far exceeded that 

earlyma sterpiece, thepainting Night G(r98-of 

the German emperor shown in Stinnes's 

GerIman,9588 

13 90Aer G , hands as a nearly naked puppet with the word 

Hell 

The Secret Emperor (The Industrialist 

I9I9 Hugo "Fritz" 

stiNnes) already stenciled abdicated on in its November fat belly--who I9I8 and had gone 

I~~~~~~~~~~919 S~~tinnes)~ 

Hugo 

~already abdicated in November 1918 and gone 

Portfolio with it transfer lithographs on Japan r1920 into exile in Holland. SR 

paper 

Pen, brush, and ink on paper 

34 2 x 24 in. (87.6x 6r cm) 25 38 x 19 in. (64.5 x 48.3 cm) 

Each lithograph is signed, titled, and numbered Purchase, Lila Acheson Wallace Gift, 

I/75 2002 

Purchase, Lila Acheson Wallace Gift, 2002 2002.492 

20oo02.49a-n 

Beckmann created the portfolio Hell, a 

sequence 

attic. Beckmann lithographs, after he visited 

copiedorthis image from his 

Berlin in March 191i9, when one of the bloodiz 

^ 

est and cruelest episodes of the post-World 

War I revolution shook the city. In just two 

days during March twelve hundred people 

were killed. In exceptionally large images, 

Beckmann narrated his journey, as both wit-!: 

ness and participant, through this city 

unhinged by violence and vice, revolution and . i 

counterrevolution, death and starvation. 

The artist's conviction that hell is life on 

earth is most vividly expressed in plate 7 of 

the series, Night (illustrated), in which three - i 

murderers ambush and torture a family in an 

attic. Beckmann copied this image from his 

A 

early masterpiece, the painting Night (I918- ' . 

, 

19; Kunstsammlungen Nordrhein-Westfalen, 

0 

Diisseldorf), a scene of violence and rape 

unparalleled in contemporary German art.-O 

SR 

- . 

47

Walter Sickert 

British, I86o-1942 

Maple Street 

Ca. 1923 

Etching 

Sheet Io s x 8 in. (26.4 x 20.3 

cm); plate 7 58 x 

5y8 in. (20 x 3 cm) 

Purchase, Emma Swan Hall Gift, 2002 

2002.465 

Sickert, painter and etcher, apprentice to 

J. A. M. Whistler, and friend of Edgar Degas, 

was chiefly interested in portraying the world 

as seen by the man in the street. His subject 

matter included indoor life-specifically 

popular music-hall and theater interiors, parlors, 

bedrooms, and studios-and city scenes 

that caught his visual imagination. Here 

Sickert depicts buildings at the intersection of 

Cleveland, Maple, and Southampton Streets 

in central London. Silhouettes of two women 

in long skirts pass before a storefront. The 

overall atmosphere is eerily quiet. 

Periodically between I905 and I929 Sickert 

had studios in Fitzroy Street, which crosses 

Maple, and he repeatedly used the neighborhood 

as his subject. The Museum recently 

acquired a painting, Maple Street, London (ca. 

I922; ace. no. I998.45I.2), in which the motif 

is rendered in somber colors. O Sole Mio (ca. 

1923; ace. no. 2002.466), a smaller version of 

the Maple Street etching, was also acquired in 

2002. It was characteristic of Sickert's method 

to study and rework a particular subject in 

different media, as illustrated by the oil painting 

and these two prints now in the 

Museum's collection. 

ALS 

Lyonel Feininger 

American, I87r-I056 

San Francisco I 

r939 

Watercolor, pen and ink, and charcoal on paper 

Signed (lower left, in black ink): Feininger; 

titled (lower center): San Francisco / I; dated 

(lower right). i8 ix 39 

222 X I8Xs in. (56. X 46.7 cm) 

Gift in memory of Helen Serger, 2002 

2002.402.3 

Feininger's name is always closely associated 

with the Bauhaus and with his favorite 

medium-watercolor. 

In 1936, after almost 

fifty years of living in Germany, Feininger 

decided to return to America. That summer 

and the next, he taught in Oakland, California, 

and visited San Francisco. 

This nocturnal view of San Francisco's 

skyscrapers, rising against a delicately tinted 

bluish sky with a hovering crescent moon, 

was painted in September 1939. Stylistically, 

it represents a transitional phase in Feininger's 

development: A more fluid, gestural, almost 

nervous, line is replacing a rigid linear struc- 

ture, in which angular, frequently faceted 

forms, are lit in a way that makes the objects 

seem refracted through a prism. Here the spidery 

lines drawn in ink define the architecture, 

rendered in muted hues of gray, yellow, 

and blue watercolor. The artist's exceptional 

command of the watercolor medium adds 

intensity and mystery to the mood of the city 

by night. 

MD 

48

Henri Matisse 

-' . / 

French, i869 -954 

"Poesies" by Stephane Mallarme 

Illustrated book (unbound quarto) 

1932 

' I / 

x, /i 

Etching 

Book page I3 x 9 p in. (33 x 25. cm) 

Purchase, Eugene and Claire Thaw Gift, in 

honor of Pierre and Maria-Gaetana 

Matisse, 2003 

2003.84a-rrrr 

Matisse did not try his hand at book illustration 

until he was sixty-two years old. In I93I a 

young Swiss publisher, Albert Skira of 

Lausanne, invited him to illustrate his choice 

of poems by the French Symbolist poet 

Mallarme (1842-1898). Matisse produced an 

extraordinary volume of poems accompanied 

by twenty-nine etchings (23 full-page and 6 

half-page). 

The present copy is exceptional. Besides 

the twenty-nine etchings, it contains a duplicate 

suite with remarques (artist's notes) and 

an additional nineteen etchings that were not 

published. Executed with an unshaded, energetic, 

and flowing line achieved through the 

use of a sapphire needle point, each etching 

spread over an entire page (or half page). The 

whiteness of the sheet is thus carefully balanced 

with the blackness of the printed 

image. Many of the illustrations relate to the 

dance, while some are portraits, landscapes, 

or views from a window. The motifs, not 

literal depictions but Matisse's impressions 

of the poems they accompany, were mostly 

derived from the vocabulary previously 

established by the artist in his numerous 

paintings, drawings, and prints. The remarques 

on the extra set of etchings are 

fragmentary sketches of different motifs. 

Together with the unpublished prints, they 

provide exceptional insights into Matisse's 

process of creation. 

MD 

Wassili Luckhardt 

German, I889-1972 

Hans Luckhardt 

German, I890o-954 

Chair (model STI4) 

193I-32 

Chrome-plated tubular steel, painted laminated 

wood 

H. 34 in. (87.6 cm) 

Purchase, The Horace W. Goldsmith 

Foundation Gift, 2003 


Yeshwant Rao Holkar Bahador (1905-1956), 

maharaja of Indore, was enamored of 

European taste and spent much of his time in 

Paris, where he patronized a number of 

artists. Desiring a new palace in India, he 

chose for the project the modernist German 

architect Eckart Muthesius (1904-1989), and 

after the building's completion in 1930, he 

outfitted it with furniture by such important 

designers as Eileen Gray, Le Corbusier and 

Charlotte Perriand, 1Emile-Jacques Ruhlmann, 

and the Luckhardt brothers, who were responsible 

for this chair. The maharaja named his 

palace Manik Bagh (ewel Garden) and 

planned with the sculptor Constantin Brancusi 

(I876-I957), from whom he acquired the three 

final and largest versions of the sculpture Bird 

in Space, the addition of a mausoleum and 

temple for meditation; they were never built. 

This boldly cantilevered chair with its 

sweeping lines is one of a large group ordered 

by the maharaja. It is both lightweight and easily 

portable-qualities that recommended it 

for use in the combined theater-ballroom of 

the palace. It is also extremely elegant in form. 

JSJ 

49

1- F- 

David Smith 

American, I906-1965 

Study for "Banquet" 

1950 

Brush and ink and gouache on paper 

I2 x i8 Y in. (3.8 x 47.9 cm) 

Signed and dated (upper center): David Smith 

1950; inscribed (upper right): Black / Frame / 

painted / segments / 50 

Bequest of Emily Genauer Gash, 2oo2 


Smith, well known for his large burnishedsteel 

constructions, was also a prolific draftsman. 

Among the hundreds of drawings he 

produced, there are ones conceived as independent 

works of art in addition to those that 

were preparatory sketches for sculpture. In 

this line drawing Smith's brushstrokes of 

black ink are assured yet spontaneous, con- 

veying the artist's great exuberance through 

his personal "handwriting." It is one of several 

studies that he made for Banquet (I95I; 

National Trust for Historic Preservation, 

Nelson A. Rockefeller Bequest), a metal work 

that combines the flatness of painting with 

the form and substance of sculpture. In both 

the drawn and sculpted versions of this composition 

various signs, symbols, and objects 

are attached in horizontal registers to an 

open, two-dimensional armature; in each version, 

certain elements are also painted in. 

The highly abstract shapes seem to resemble 

chairs, tables, plates, and food items, includ- 

ing fish, evoking the theme of a banquet. 

LMM 

Franz Kline 

American, 9I10-r962 

Untitled 

Ca. 1950-52 

Brush and ink on cut and pasted papers 

4 x 3 s in. (12.1 x 9.8 cm) 

Gift of David and Renee McKee, 2002 

2002.580 

This black-and-white collage consists of two 

trapezoidal pieces of paper, each painted with 

abstract forms in black ink, mounted on a 

white paper support. Like many of Kline's 

large house-paint or oil paintings of this 

period, the vigorous but tightly locked black 

forms appear to extend at the lower left and 

right corners beyond the support, perhaps 

into the actual space of the observer. In this 

small, elegant work, the narrow, pointed 

shape extending from the middle of the lower 

cut paper to the right perimeter of the collage 

causes the viewer to see the tension between 

the center and the edge of the composition. 

As with Kline's small works on paper of 

the I950s, this drawing appears to be a study 

for a large Abstract Expressionist canvas. It 

joins two other Kline drawings from the same 

donors in the Museum's collection, as well as 

several of his important paintings. NR 

Studio 65 (designer) 

Italian (Turin), founded z965 

Gufram (manufacturer) 

Italian (Turin), founded 1952 

"Capitello" Side Chair 

I971 

Polyurethane foam 

H. 2602 in. (67.3 cm) 

Purchase, Friends of Twentieth Century 

Decorative Arts Gifts, by exchange, 2003 

200o3.2a, 

b 

In Italy throughout the I96os and I970s, 

radical design groups were established in 

opposition to the pure functionalism of the 

International Style. In I965 Studio 65 was 

founded by Piero Gatti, Cesare Paolini, and 

Franco Teodoro, architecture and art students 

in Turin. Their ironic adaptation of 

classical elements predates the historicist 

designs of such I98os postmodernists as 

Robert Venturi and Michael Graves in 

America and Hans Hollein, Ricardo Bofill, 

and Aldo Rossi in Europe, and it also takes 

note of pop art developments of the period. 

The "Capitello" side chair is made from a 

self-skinning polyurethane foam that has 

50

een molded into the uppermost architectural 

element of the Greek Ionic columnthe 

capital. Its ironic humor lies in the fact 

that this soft, pliable modern material has 

been shaped as a hard, load-bearing form, an 

important symbol of ancient Greek architecture. 

The visual references derived from 

architecture and art supersede functionalism, 

as indeed they do in most objects designed by 

Studio 65 and other antidesign groups of this 

period, transforming furniture, jewelry, accessories, 

and even architecture itself into objects 

of fantasy. 

JA 

David Hammons 

American, b. 1943 

Phat Free 

I995 

Single-channel video with sound 

Dimensions variable; 5:20 

Purchase, Alfred Stieglitz Society Gifts, 

2003 


One of the most interesting and provocative 

artists working today, Hammons has examined 

black urban culture for three decades, 

using the strategies of the avant-garde from 

Duchamp's Readymades to Minimalism and 

Fluxus. He has sold snowballs on an uptown 

sidewalk and created elegant, less ephemeral 

sculpture from chicken bones and from human 

hair gathered from a Harlem barbershop; 

Hammons recycles the detritus of the everyday 

into highly poetic, antimonumental reflections 

on the African-American experience that are 

alternately sardonic, wistful, or jubilant. 

In this haunting work of video art, 

Hammons maps the path of a black male (in 

this case the artist himself) through a (white) 

public space in which he is both ever present 

and never quite welcome-as invisible man, 

as unsightly nuisance, and, just beneath the 

surface, as a figure of menace. Clad in black 

and literally "kicking the bucket" through the 

streets, Hammons performs the condition of 

exile-at-home as a kind of walking death, epit- 

omized by the ominous, extended blackout 

that opens the piece. Yet, paradoxically, it is 

this very death, the artist suggests, that gives 

birth to African-American culture, specifically 

the blues, with its unique combination of 

suffering and joy, rage and release. DE 

Rodney Graham 

Canadian, b. 1949 

Welsh Oak, #i 

1998 

Chromogenic print 

89 x 72 in. (226.1 X 182.9 cm) 

Purchase, Alfred Stieglitz Society Gifts, 

2002 

zooz.38r 2002.381 

Graham, a multimedia conceptual artist from 

Vancouver, built a giant pinhole camera and 

parked it for a month in 1979 in front of 

twelve different trees. The public was invited 

to enter the camera to view the luminous 

image of a tree cast upside down on the camera's 

back wall. In 1990 he again approached 

the subject, this time photographing ancient 

oaks in the English countryside with a conventional 

camera. Inverted on gallery walls, 

the impressively large prints suspended the 

trees as if in the mind, while insistently 

recalling the constructed aspect of all artistic 

representation. 

In 1998 Graham produced his definitive 

work on this theme, a series of seven monumental 

images of Welsh oaks printed on colored 

paper to produce warm, deep sepia and 

charcoal hues. Referring to the traditions of 

depicting noble trees, from Caspar David 

Friedrich to Atget, Graham reworked the 

Romantic idea of the heroic, solitary sentinel, 

divesting it of nostalgia by clarifying the present 

context-the ancient tree, although still 

magnificent, was now a mere icon of the natural 

environment hemmed in by human 

concerns. The almost hallucinatory transformation 

wrought by the inversion of the 

images is profound, as disorienting as if 

the ground were to become transparent, the 

branches to become roots, and the sky were 

to fall. 

MMH 

i* 

5'

...... , i ; t ..... a . i . x ^ . 

Till Freiwald 

German (b. Peru) 1963 

Untitled 

2000 

Watercolor on paper 

3o x 203/ in. (76.2 x 5i.8 cm) 

Gift of Barbara Schwartz, in memory of 

Eugene M. Schwartz, 2ooz 

2002.368 

Richard Avedon 

American, b. I923 

June Leaf, Artist, Mabou Mines, Nova 

Scotia 

July i8, I975 

Gelatin silverprint 

49y2 X 39/2 in. (125.7 x 99.3 cm) 

Gift of the artist, zoo002 

2002.379.24 

This mesmerizing photograph of the artist 

June Leaf is a masterpiece of Avedon's 

mature, white-background portrait style. 

With uncompromising directness, Avedon 

depicts his subjects against a bright white 

backdrop, with no distracting props or extraneous 

details. With everything inessential 

stripped away, what remains is a remarkable 

intensity of characterization, at once iconic 

and dazzlingly specific. A bohemian 

_ _____ _______ __I_ 

__ 

Madonna, Leaf folds her arms in a gesture 

of self-protection, yet her features radiate a 

deeply humane warmth and generosity 

of spirit. 

The portrait is part of Avedon's gift to the 

Museum of I28 

photographs that made up 

the entire contents of his landmark exhibition 

of portrait work, held at the Marlborough 

Gallery in New York in I975. Featuring such 

luminaries as Igor Stravinsky, Ezra Pound, 

Isak Dinesen, Jean Genet, and Buckminster 

Fuller, this collection constitutes a modern- 

day pantheon of the key intellectual, artistic, 

and political figures of the late I950o through 

the early I970s. Among the other highlights 

are three spectacular mural-sized group portraits-twenty-one 

to thirty-five-feet wideof 

Andy Warhol and the members of the 

Factory (1969), of the Mission Council 

(I971), and of the Chicago Seven (I969). 

MF 

Freiwald's monumental (90 by 60 inches) 

watercolor portraits of unidentified, often an- 

drogynous-looking young people are painted 

from memory. However, each is based on a 

careful study of the model painted from life, 

such as the young woman in this smaller 

watercolor. 

The visage of the woman is centered on a 

monochrome background and cropped at 

the top of the head, which flattens the image. 

Freiwald created the sides of the face with 

sharply delineated edges, which also reinforces 

the two-dimensionality of the portrait. The 

artist wields watercolor precisely to render the 

exact features of the face but does not disclose 

the emotions of the sitter. 

NR 

=a 

52

Paula Rego 

Irving Penn 

British (b. Portugal) 1935 

American, b. i917 

Getting Readyfor the Ball Nude No. 70 

2001-2 1949-50 

Lithographs 

Gelatin silverprint 

Overall 332 x 72 in. (85.I x 182.9 cm) 

5/2 x i434 in. (9.4 x 37.5 cm) 

Purchase, Gertrude Whitney Conner Gift, Gift of the artist, 2oo2 

2003 2002.455.30 

2003.120a-c 

This triptych of lithographs printed in eighteen 

colors was inspired by Rego's long interest 

in Charlotte Bronte's novel Jane Eyre. A 

scene of women and young girls preparing for 

a formal party unfolds in a single moment, 

with Jane Eyre appearing in each panelhomely 

and dour at left, watching young girls 

primping before a mirror at center, and being 

fitted in a gown at right. Rego at once draws 

the viewer into her distinctive pictorial world, 

where she combines themes from Jane Eyre 

with the grotesque figure types of Diego 

Velazquez and Francisco de Goya and the 

mordant wit of eighteenth- and nineteenthcentury 

British caricaturists William Hogarth, 

James Gillray, and George Cruikshank. 

After many years of producing etchings, 

Rego found that drawing on stone gave her a 

freedom she had not known since her student 

days. The twenty-five Jane Eyre prints-her 

first major lithographic portfolio-are part of 

a large body of paintings, drawings, and 

prints on the subject that she began in 200I. 

This triptych and a single lithograph in black 

on white depicting a solitary Jane Eyre are the 

first works by this celebrated British figurative 

artist to enter the Museum's collection. ALS 

fashion 

One of the world's preeminent photographers, 

Irving Penn is famous for his insightful portraiture, 

surprising still lifes, and influential 

work; he is less well known as a superb 

photographer of the female nude. His most 

important pictures in this genre were made 

over fifty years ago, when the then-young Penn 

engaged several artist's models in a series of 

intense sessions modeling only their unadorned 

bodies. The sessions took place on weekends 

and in the evenings and were essentially a 

personal antidote to the ephemeral fashion 

world of women's magazines that occupied 

Penn's days. 

The women he chose as subjects and the 

ways he viewed them produced nudes that 

were highly unorthodox by midcentury 

fashion standards: their fleshy torsos are 

stretched, twisted, and folded, giving them 

extra belly, mounded hips, and puddled 

breasts. Like Matisse, who often left contours 

open because the light ate them away, Penn 

created figures that are fragmentary but 

always complete; although they lack limbs 

and heads, they seem whole, like antique 

torsos resplendent in the light. This photograph 

is one of sixty-six exquisitely wrought 

prints that the artist donated to the Museum. 

MMH/MF 

53

AFRICA, OCEANIA, AND THE AMERICAS 

Neck Emblem or Sash 

Peru (Pukara), 2nd century B.c.-2nd centuryA.D. 

Camelid and human hair 

H. (without hair) 25 x 714 in. (63.5 x i8.5 cm) 

Purchase, Pat and John Rosenwald, Fred 

and Rita Richman, and Discovery 

Communications Inc. Gifts, 2003 


This textile, of a highly unusual shape, is 

extremely rare. While attributed to the Pukara 

tradition, believed to be a precursor of the 

better-known Tiwanaku culture in the Lake 

Titicaca area of highland Peru and Bolivia, it 

is said to have come from the Ica Valley on 

the coast of southern Peru. The iconography, 

in fine interlocked tapestry in colors ranging 

from natural brown and beige to dyed red, 

blue, green, and yellow, consists of human 

and animal faces in profile. The arrangement 

of the human heads with pointed noses and 

split eyes, looking in different directions, and 

the diamond-patterned panel are characteristic 

of the Pukara style. The principal head 

faces down and expresses a sense of supernatural 

power, with its fanged mouth, snake, and 

profile puma with spotted pelt decorating it. 

Below the head and connected to it by two 

bands is an upside-down head, from which 

hang long strands of human hair. It is read as 

a trophy head, a common theme during this 

period in southern Peru. The long strings at 

the top suggest the piece was worn around the 

neck or waist of an important individual, 

either at the front or at the back. 

HK 

Lidded Bowl 

Mexico (Rio Blanco), 6th-gth century 

Ceramic 

H. 7y2 in. (Ip.I cm) 

Purchase, Gift of Mortimer D. Sackler, 

Theresa Sackler and Family; and Mark and 

Anla Cheng Kingdon Foundation Gift, in 

memory of Leonard Bernheim, oo002 

2002.4Y8a, b 

Made in the Mexican gulf coast region of 

Veracruz between the sixth and ninth centuries, 

this bowl relates closely to an ancient 

American ball game. A form of competition 

and/or ritual that was at least two thousand 

years old when the bowl was produced, the 

game was played with a hard rubber ball and 

had rules and meanings that differed with 

time and place. On the gulf coast it was 

highly significant, and many game images are 

found in the art of the region. 

Worked in relief around the body of this 

bowl are six figures, four of whom are dressed 

as players. Between them are seated lordly personages, 

one of which (center) sits within the 

coil of an undulating serpent. On the lid are 

two other pairs of players, in active, body-tothe-ground 

poses. The large ball between 

them displays a profile bird's head. While the 

imagery of vessel and lid is clearly that of game 

and players, the significance of the whole is 

not clear. An unusual feature of the work is its 

combination of styles; aspects of both the central 

Veracruz region of Rio Blanco and 

the Maya area to the south are present. JJ 

54 




www.jstor.org

On this figure, in addition to the use of black 

to articulate features, broad passages of red 

and white pigments are thickly applied to the 

surface. Throughout the region these colors 

refer to essential precepts: red to life force, 

white to social order and unimpeded perception, 

and black to death and mourning. The 

use of all three alludes to the work's status as 

an abstract portrait of distant ancestors and 

to its role in diagnosis and divination. AL 

Mosquito Mask 

Alaska (Tlingitpeople), before 1843 () 

Painted wood, copper, and shell 

W 6/4 in. (I7.i cm) 

Gift of Ralph T. Coe, 2ooz 

2002.602.1 

origins of the Peter the Great Museum of 

Anthropology and Ethnology go back to the 

time of the ruler's Kunstkammer (art room) in 

the early eighteenth century. 

jj 

Among the Tlingit people of southeastern 

Alaska, who inhabit a heavily wooded, 

rugged region between mountains and sea 

along the Pacific coast, mosquitoes are 

thought to have supernatural associations and 

are given roles as spirit helpers. As represented 

in masks during the nineteenth century, 

mosquitoes were carved of wood and 

had very long insect proboscises. Embellished 

with side flaps, walrus whiskers, and feathers, 

the depictions were imposing, and when 

worn on the foreheads of participants in cur- 

ing ceremonies, they were much respected. 

The present example, which may have been 

collected in the early I84os, when Alaska was 

in Russian hands, has lost those attachments, 

but the mosquito has retained its imperious 

demeanor. 

A similar mosquito mask is in Russia's 

Peter the Great Museum of Anthropology 

and Ethnology in Saint Petersburg, where it 

was acquired in the early I84os when conscious 

efforts were made to expand the collections 

of that museum. The acquisition date 

of the Saint Petersburg Tlingit collection puts 

it among the most important native Northwest 

Coast collections in the world. The 

Reliquary Figure 

Gabon or Republic of the Congo (Ambete), igth 

century 

Wood, pigment, metal, and cowrie shells 

H. 322 in. (82.6cm) 


Collection, 2oo0 

2002.456. 7 

Like his father, Henri, Pierre Matisse 

acquired works of African art that related to 

the Modernist interest in abstraction of the 

human form. 

Striking for its juxtaposition of still and 

active attitudes, this standing male figure is a 

receptacle for ancestral relics. The interior of 

its hollow torso is accessible through the 

back's removable rectangular panel. While 

sculptural traditions amplifying the importance 

of sacred ancestral relics are widespread 

in this region of central Africa, they generally 

consist of figurative sculptures that accompany 

relic containers or bundles. 

This example is one of a series of eight 

related Ambete works collected north of 

present-day Congo-Brazzaville by Aristide 

Courtois during the early twentieth century. 

55

Elephant 

Republic of Benin, Kingdom ofDanhome 

(Fon), ipth century 

Silver and iron 

H. 12 in. (30.5 cm) 

Partial and Promised Gift of Anne 

d'Harnoncourt and Joseph Rishel, in 

memory of Rene and Sarah d'Harnoncourt 

and Nelson A. Rockefeller, 2ooz 

2002.517.2 

This silver-plated sculpture was designed as a 

conceptual portrait of the life sign of a Fon 

sovereign of the West African kingdom of 

Danhome. In the eighteenth and nineteenth 

centuries Danhome's leadership engaged in 

aggressive military and economic expansion as 

participants in the Atlantic slave trade. Silver, 

derived largely from European coins, was 

hammered to encase royal sculptural representations 

and to create jewelry for members of 

the court. These resplendent, precious cultural 

icons were removed from palace shrines 

dedicated to the war god, Gu, and displayed 

annually in public ceremonial processions. 

Most important among the works featured 

were those formally derived from an 

individual ruler's life sign. The elephant 

imagery represented in this piece is associated 

with the divination signs of two nineteenth- 

Fon 

century kings renowned for their military 

successes: Guezo and his son Glele. This 

visual metaphor, intimately associated with 

their legacy, is complemented by a number of 

proverbs-such as "the elephant steps 

on the ground with strength"-that emphasize 

the enduring impression of their actions 

on successive generations. 

While serving as icons of royal strength 

and identity, such silver sculptures created at 

this court were also looked upon as "power" 

objects that repelled danger and enhanced the 

well-being of the state. 

AL 

RoofFinial (yaba) 

Papua New Guinea (East Sepik Province, 

Tongwindjam village, Kwoma people), ipth- 

20th century 

Wood with traces ofpaint 

L. 93 in. (236.2 cm) 

Gift of the de Teliga Family, in memory of 

Douglas Newton, zooz 

2002.352.1 

This impressive roof finial, or yaba, once 

adorned the apex of the gable of a men's ceremonial 

house among the Kwoma people of 

Tongwindjam village, Papua New Guinea. 

The house served both as the daily meeting 

place for the village men, as well as the focus 

of annual religious rituals celebrating the yam 

harvest. The finial, which would have looked 

down upon the men as they entered and left 

the house, consists of two figures, depicted 

from two different formal perspectives. The 

first, facing the viewer, shows a stylized male 

image that likely represents a clan spirit or 

56

Seated Figure 

Caroline Islands (Satawal Island), late Igthearly 

20th century 

Wood and shell with traces ofpaint and resin 

H. 8Y4 in. (21 cm) 

Purchase, Fred and Rita Richman Gift, in 

memory of Douglas Newton, 2003 

200oo.8 

Martin Chambi 

Peruvian, i89I-i973 

Panorama ofMachu Picchu 

I925-3os 

Two gelatin silver prints 

6'2 x 18 in. (6.5 x 45.7 cm) 

Purchase, Arthur M. Bullowa Bequest, 2003 

2003.3I 

figure from Kwoma mythology. The head 

displays the concave face, prominent linear 

brow ridge, pendant nose, and protruding 

eyes that typify Kwoma sculpture. 

The first figure is surmounted by the image 

of a crocodile, with slender, elongated body 

and pointed jaws depicted as if viewed from 

above. Hooklike projections extend backward 

from the bases of its front legs, which 

are shown with the feet resting on the top of 

the rear section of its head. This imposing 

crocodile, which forms the apex of the finial, 

probably represents the totemic species of 

one of the village clans. 

EK 

With its stylized facial features and angular 

body, this figure embodies the spare, minimalist 

approach to the human form typical of 

the sculptural traditions of the Caroline 

Islands of Micronesia in the western Pacific. 

The domed head and smoothly curving brow 

lines contrast with the angularity of its thin 

lozenge-shaped mouth and markedly pointed 

chin, giving the face an almost masklike 

appearance. Of indeterminate gender, the 

body is rendered as a series of interlocking 

angular forms, with the hands resting on the 

knees, which are only subtly indicated. 

While a stone example recovered archaeologically 

attests to the antiquity of the tradition, 

there is little precise information on the 

iconography or function of Carolinian seated 

figures. Some sources indicate that they may 

have represented recently deceased ancestors 

and were kept in the home, where they could 

be called upon to intervene on behalf of their 

living descendants. They may also have been 

associated with a type of canoe magic, in 

which the figure was placed in a small canoe 

and set adrift to lure evil influences away from 

the village. Showing evidence of extensive use 

and handling, this example may possibly have 

been employed in a variety of contexts. EK 

Machu Picchu has fascinated our imaginations 

since archaeologist Hiram P. Bingham 

first visited it in I91. Few locations are as 

remote, intriguing, and visually compelling as 

this former center of the Inka empire, now 

thought to have been a country palace during 

the late fifteenth to early sixteenth century. 

Photographs rarely capture its sweeping 

grandeur and architectural complexity, and 

equally uncommon are images of it made by 

Quechua artists. Thus we marvel at this 

stunning image by Peruvian photographer 

Martin Chambi. 

Born in Coaza village in the high country 

near Lake Titicaca, Chambi first encountered 

photography at the mining company where 

his father worked. Inspired by the medium, 

Chambi traveled to the thriving artistic com- 

munity of Arequipa to study with the photographer 

Max T.Vargas. Chambi later opened 

his own portrait studio in Cuzco, where he 

was based for his entire career. His desire to 

make photography accessible to all prompted 

him to sell hundreds of photographic postcards, 

and he is credited with popularizing 

the format in Peru. 

Chambi is said to have been passionate 

about photographing Machu Picchu and did 

so many times beginning in I9I7. His vision 

and his heritage are evident in this exquisitely 

detailed panorama. 

VLW 

57

ASIA 

Short Sword 

Chinese, Eastern Zhou dynasty (770-256 B.c.), 

ca. 6th-5th century B. c. 

Bronze 

L. 14 in. (35.6 cm) 

Gift of Eugene Victor Thaw Art 

Foundation, 2003 

2003.I93 

Standing Attendant 

Chinese, Tang dynasty (6I8-906), 7th century 

Earthenware with slip andpigment 

H. 20 8 in. (5I.I cm) 

Purchase, Barbara and William Karatz 

Gift, 20oo 

2002.501 

During the fourth and sixth centuries, the 

population in northern China, particularly in 

the areas near Xi'an, was ethnically mixed. 

This standing attendant, wearing a belted 

tunic and tall boots, and with a rolled-up 

cloth wrapper tied around his chest, is likely 

to have come from the northern Asian steppe 

beyond the Great Wall. 

The production technique for funerary 

figures in northern China at the beginning of 

the seventh century was rather unusual. They 

were modeled in clay on an iron armature 

and apparently fired before the application of 

a slip and pigments. This method allowed 

for the fine tooling of details, such as the 

pouches suspended from the narrow belt on 

this example and the elaborate treatment of 

the hair. This type of hand-sculpted figure is 

more expressive and possesses greater individuality 

than the later molded ones, which are 

usually covered with three-color glazes. 

DPL/JCYW 

Throughout the first millennium B.C., the 

nomadic tribes on the Eurasian steppes 

remained an important conduit between 

China and the West. Their frequent contact 

with the sedentary cultures helped bring 

about some of the earliest exchanges between 

the two civilizations, of which this rare bronze 

short sword provides significant evidence. 

Short swords with integrally cast handle 

and blade like the present example originated 

among the nomadic tribes. The ornate decoration 

on this handle, however, had its source 

in the art of the West: The complex relief 

designs and the tiny raised dots on the handle 

show a conscious effort to simulate the multifaceted 

and granulated surfaces of imported 

goldwork. Recent archaeological finds suggest 

that the short sword was most probably made 

in the bronze foundries of the Qin state in far 

northwestern China that had close connections 

with the nomads. The craftsmen combined 

the exoticism of gold and the exacting 

standards of Chinese bronze casting to satisfy 

their demanding non-Chinese patrons. zjs

Bodhisattva Manjushri with Attendants 

Chinese, Liao dynasty (907-zI25), 

loth-ith century 

Marble 

23 x 2434 in. (58.4 x 6.6 cm) 

Purchase, The Vincent Astor Foundation 

Gift, tooz 

2002.440 

Manjushri (Chinese: Wenshu), the bodhisattva 

of wisdom, is identified by both the text 

(Perfection of Wisdom) that he holds in his left 

hand and the lion he rides. He sits in a lotus 

posture on a cloth-covered throne carried by 

a lion with curly mane and tail that wears a 

fringed saddlecloth and a jeweled harness. 

The trousers, bare chest, and curly hair of the 

groom indicate non-Chinese, possibly central 

Asian, origins. Cloudlike forms depicted 

beneath the lion's feet and the two smaller 

attendants at the upper right and left suggest 

that the sculpture depicts Manjushri's descent 

from his abode on Mount Wutai in Shanxi 

Province to guide the faithful. Uncommon in 

sculpture, this iconography plays a primary 

role in later East Asian Buddhist painting. 

The bodhisattva wears a full skirt, long 

scarves, and a thin diadem with pearl tassels. 

His compact yet fleshy form, clinging drapery, 

and round, chubby face with closely 

grouped features typify sculptures produced 

in northeastern China during the Liao dynasty. 

The Khitan rulers of this realm adopted and 

preserved styles and images from the late 

Tang dynasty (618-906) and also played a 

seminal role in the development of Buddhist 

art in Korea and Japan. 

DPL 

Wine Container (hu) 

Chinese, Western Zhou dynasty (1046-771 B.c.), 

ca. late Iith-early ioth century B.c. 

Bronze 

H. I6 8 in. (41.1 cm) 

Gift of Katherine and George Fan, in 

honor of James C. Y. Watt, 2003 

200. 66.IIa, b 

This wine container features a flowing, slender 

silhouette and a smooth, undecorated 

surface. Its fitted lid, when inverted, can serve 

as a cup. Four small holes were drilled in the 

vessel, two on its flared foot and two on its 

lid. A cord or leather strap can be passed 

through the holes and through the two lugs 

on the neck to secure the lid for travel. 

The shape of the vessel is clearly inspired by 

that of portable beverage containers, often of 

leather or other materials, used by the nomads 

along China's northern borders. Many such 

vessels appear to have been made in Chinese 

workshops that catered to both Chinese and 

non-Chinese patrons. They reflect that country's 

increased contact with its nomadic neighbors 

and its fascination with their exotic 

foreign ways of life on the steppes. 

zjs

Hanging with Avalokiteshvara 

Chinese, Ming dynasty (1368-1644), 

early isth century 

Silk 

o10 x 5I/2 in. (256.5 x 130.8 cm) 

Purchase, Sir Joseph Hotung Gift, 2oo0 

2002.271 

The Yongle emperor of the Ming dynasty 

(r. 1403-24) was a devout Buddhist and a great 

patron of Tibetan temples and lamas. The vast 

majority of the products of the imperial work- 

shops during his reign were Tibetan Buddhist 

images and ritual implements in various 

media, all of the highest quality and design. 

One particular category was devotional images 

in silk-woven or embroidered-of which 

very few have survived. 

On this large hanging of red damask, the 

central figure is that of Avalokiteshvara in his 

manifestation as the four-armed Shadakshari 

Lokeshvara, with a mantra in Sanskrit above 

and an exaltation in Tibetan script below. 

The weave is that of twill damask rather 

than the satin damask that was more 

common at this time. 

JCYW 

Nardunbu 

Chinese, active mid-I7th century 

Horsemanship Competition for the 

Shunzhi Emperor 

Qing dynasty (1644-9-I1), dated I662 

Handscroll, ink and color on paper 

8 x 655 in. (20.3 x 1,663.7 cm) 

Purchase, The Dillon Fund Gift, zooz 

2002.328 

This long handscroll documents one of the 

celebratory events accompanying the entrance 

of the Shunzhi emperor (r. 1644-61) into 

Beijing shortly after the fall of the Ming 

dynasty to the Manchus. Painted by a Manchu 

artist, it is among the earliest examples of 

Qing courtly painting known and suggests 

the unsophisticated nature of Manchu art 

prior to the sinicization of the court under 

the Kangxi emperor (r. 1662-1722). The 

scroll is not only of great historical interest 

but also serves as a striking foil to The Kangxi 

Emperor's Southern Inspection Tour (acc. no. 

I979.5) of about I697, which reflects the 

impact of mainstream Chinese culture on 

court patronage. 

The painting, which is probably a 

preparatory sketch, presents a file of horsemen 

each performing a different riding stunt 

(below). At the right end two rows of imperial 

bodyguards flank two horsemen who are 

about to perform. Five men blow conches to 

announce the next rider, while two officers, 

one identified by a peacock feather in his cap, 

direct. Each rider was originally accompanied 

by two label strips naming his pose and military 

unit. All of the horsemen belong to one 

of the three highest-ranking of the eight 

"banners" that divided the Manchu army. 

MKH

Xu Yang 

Chinese, active ca. 17so-after i776 

Palaces of the Immortals 

Qing dynasty (I644-19II), dated 1753 

Foldingfan mounted as an album leaf ink, 

color, and gold on paper 

634 x i8/2 in. (I6x 47 cm) 

Purchase, The B. D. G. Leviton 

Foundation Gift, in honor of Marie-Helene 

and Guy Weill, 2003 


This scene of ornate palaces in a fantastic 

landscape of azure and malachite mountains 

is readily identifiable as a Daoist paradise-a 

suitably auspicious subject for its function as 

a birthday gift. Such images are conventionally 

painted in the archaic blue and green 

landscape style. Xu Yang's image demon- 

strates his mastery of this decorative manner. 

His angular, frontally arrayed mountains are 

first outlined in ink and then filled in with 

mineral colors-darker in the foreground 

and paler in the distance-to enhance the 

illusion of recession. The crisp contour lines 

used to describe the nearer peaks are further 

embellished with gold highlights. 

Xu Yang was recruited as a court painter in 

I75I and became one of the emperor's leading 

artists with his selection in 1764 to execute The 

Qianlong Emperor's Southern Inspection Tour 

(acc. nos. I984.I6, I988.350). This gemlike 

work in the intimate fan format shows Xu 

employing a miniaturist style and a decorative 

blue green technique that is quite different 

from his grand imperial commissions. The 

fan, one of the artist's earliest extant works, 

also fulfills a valuable documentary function. 

According to Xu Yang's effusive dedication, 

the painting was executed not long after he 

was granted an honorary "presented scholar" 

(jinshi) degree by the emperor. 

Jarfor Sutra Burial 

Japanese, late Heian period (ca. oo00-185), 

MKH 

early i2th century 

Stoneware with natural ash glaze 

(Tokoname ware) 

H. 934 in. (24.8 cm) 

Dr. and Mrs. Roger G. Gerry Collection, 

Bequest of Dr. and Mrs. Roger G. Gerry, 

2000 

2002.447.12 

A cloak of soft color, from ethereal pale blue, 

iridescent in places or nearly white, to a vernal 

green, graces the dignified form of this 

chestnut-colored stoneware jar in overlapping 

layers of thick, kiln-fused ash glaze. Buried 

sometime in the early twelfth century, when 

Buddhist law was believed to be in decline, 

this sturdy jar protected a bronze cylinder 

that held precious Buddhist sutras and relics. 

Made near present-day Nagoya at Tokoname, 

one of Japan's oldest pottery centers, it was 

built up with thick coils of cream-colored 

clay and then smoothed on a wheel, a 

process that inspired the area's distinctive 

embellishment of lightly incised rings that 

encircle the body at several points. 

The jar was part of a collection of more 

than I20 Japanese ceramics, Buddhist sculptures, 

and paintings. Assembled over four 

decades, it also includes a prized twelfth- 

century Buddhist votive sutra and a major 

Muromachi ink painting on a pair of screens 

attributed to Kano Totonobu (I476-1559). 

BF

Zao Gongen 

Japanese, Muromachi period (1392-I573) 

Wood, gilt-bronze ornaments with colored 

beads, and crystal eyes 

H. 2o8s in. (y51. cm) 

Gift of Marielle Bancou-Segal, in memory 

of the vision of William Segal, zooz 

2002.446a-c 

This boyish figure of ferocious mien, carved 

of a single block of Japanese cedar, is a rare 

variant of the standard form of Zao Gongen, 

a guardian spirit venerated in a cult of mountain 

ascetism. His fierce but princely appearance 

is based on that of a guardian in the 

mandala of Esoteric Buddhism, derived from 

Hindu iconography via China. Posed in 

action, he stands on the extended left leg; the 

right is raised, about to stomp, as he hurls a 

now-missing vajra (the ritual thunderbolt 

indicative of supreme wisdom). Naked to the 

waist, he wears a dhoti, a garment of Hindu 

origin. His garments flare upward with a 

force that sweeps the hair into four flamelike 

tufts and blows the tall chignon backward. 

His grimacing face is ferocious, with a 

bulging brow and open, roaring mouth. 

Crystal eyes, including a third in the forehead, 

are tinged with red to appear blood-

shot, intensifying the fervor of his grimace. 

Zao Gongen has been widely worshiped 

in Japan since the twelfth century as one of 

the prime deities of Buddhist and Shinto 

assimilation that characterized Japanese reli- 

gion until the Meiji period (I868-I912), 

when Shinto was institutionalized as the 

state religion as part of the restoration of 

imperial rule. 

BF 

A Long Talefor an Autumn Night 

Japanese, Nanbokucho period (i336-92), late 

i4th century 

Three handscrolls, ink, color, and gold on paper 

Each approx. I128 in. x 41 ft. 28 in. (30.p x 

1,255.2 cm) 

Purchase, Funds from various donors, by 

exchange, Fletcher Fund and Dodge Fund, 

2002 

2002.459.I-.3 

The rise of romantic literature in tenthcentury 

Japan spurred the development of 

emaki (romantic tales, battle epics, and reli- 

gious legends illustrated in handscrolls), 

which evolved into a vibrant art form akin to 

modern films. The mid-fourteenth century 

witnessed a new genre called chigo monogatari 

(tales of young male acolytes), recounting 

romances between mature Buddhist monks 

and young male novices (chigo). The Akino 

yono naga monogatari (A Long Tale for an 

Autumn Night) is considered the oldest 

extant example of this genre, and our new 

handscrolls represent the earliest known 

emaki illustrating the tale. 

The emaki, by an unknown artist, relates 

the story of the monk Keikai from a temple 

on Mount Hiei, who loved the novice Umewaka 

from the nearby Miidera temple. They 

met secretly until one night Umewaka was 

said to have been kidnapped by goblins. 

Umewaka's friends at Miidera accused Keikai 

and his cohorts of this act, and the two tem- 

ples' monk-soldiers battled fiercely, destroying 

Miidera. Full of remorse, Umewaka 

drowned himself in a lake. Keikai devoted the 

rest of his life to praying for him. 

The handscrolls remained in the imperial 

collection until I438; in modern times they 

were seldom exhibited publicly. Thus they 

are in extremely good condition, making 

them an invaluable addition to the Museum's 

collection. 

MM 

Robe (kosode) 

Japanese, Edo period (i6i5-1868), 2nd halfof 

i8th century 

Silk crepe with silk embroidery and couched, 

gold-wrapped thread 

L. 50 in. (i65.i cm) 

Purchase, Parnassus Foundation/Jane and 

Raphael Bernstein Gift, 200oo 

2002.325 

This kosode, the short-sleeved garment worn 

in premodern Japan, is a splendid example 

of late-eighteenth-century fashion. Its decoration, 

similar on front and back, is dyed with 

stencils and embellished in lustrous silk and 

gold embroidery. Cursive Chinese characters 

overlay a mandarin orange tree that spreads 

its branches from hem to sleeves. This is 

an auspicious combination: three words 

meaning "pleasure,"good fortune," and 

"longevity" specify the propitious symbolism 

of the tachibana. An auger of long, fruitful 

life, it is often used in wedding ceremonies. 

As one of the two trees planted outside the 

imperial chambers, it is redolent of the court 

life immortalized in the eleventh-century 

Tale of Genji. 

This robe's venerable poetic motifs reflect 

Edo's literate culture, and its luxurious materials 

the characteristic extravagance of its citizens. 

Such a garment was appropriate attire 

for a woman of the ruling samurai class. 

Similar designs were worn by commoners, 

but sumptuary laws restricted the use of silk 

and gold in their clothing. 

BF

Katsura Mitsuharu 

Japanese, 1871-1962 

Mountingfor a Dagger (tanto) 

Taisho period (1912-26), dated 1922 

Silver, copper, gold, and silk 

L. 22Y2 in. (57. cm) 

Purchase, Arthur Ochs Sulzberger Gift, 

2002 

2002.438a-f 

This mounting is one of the masterpieces of 

Katsura Mitsuharu, the last traditionally 

trained sword-mountings smith in Japan. 

The silver sheath and grip have applied giltcopper 

fittings chiseled in high relief with 

peony blossoms against a punched ground; 

the kurikata (cord mount), the kozuka (handle 

for a small utility knife), and kogai 

(skewer-shaped implement), utensils fitted 

into recesses in the sides of the scabbard, are 

decorated to match. The scabbard is further 

engraved with flowering peonies around 

the kurikata. 

In addition to its superb workmanship, 

the mounting is also important as an exact 

copy of a unique example dating to the late 

twelfth to early thirteenth century that was 

formerly in the Aso Shrine (Kumamoto Prefecture) 

and registered as a national treasure. 

The replica was ordered by the Yushokan 

Museum of the Yasukuni Shrine in Tokyo. 

The original has been missing since the end 

of World War II. 

MO 

Images of the pensive bodhisattva-many 

representing Maitreya, bodhisattva of the 

future-were produced from India to Japan. 

In Korea the type emerged as an important 

Buddhist icon during the sixth and seventh 

centuries in all three kingdoms. While the 

iconographic and stylistic origins can be 

firmly traced to India and China, the pensive 

bodhisattva is one of the most distinctively 

Korean of Buddhist sculptures. This piece is 

among the best preserved and most spectacular 

of the extant Korean pensive images. 

Several unusual features of this sculpture 

are noteworthy. The atypical nine-sided dais 

on which the bodhisattva sits has an attractive 

openwork design, which is concealed by 

the drapery folds in the front but revealed in 

the back. This type of openwork dais may 

derive from rattan stools of Tang China (6I8- 

906). The bodhisattva's crown is topped with 

an orb-and-crescent motif, which indicates 

influence from central Asia. His braided hair, 

parted in the middle and falling down his 

shoulders, has a dramatic linear pattern. The 

fingers and toes-especially the big toe on 

the right foot-are extremely pliant and 

vibrant. The crisp decoration on the garment 

appears to have been executed after the 

bronze was gilded, an uncommon technique. 

SL 

Pensive Bodhisattva 

Korean, Three Kingdoms period (57 B. .- 

A.D. 668), mid-7th century 

Gilt bronze 

H. 8 s in. (22.5 cm) 

Purchase, Walter and Leonore Annenberg 

and The Annenberg Foundation Gift, 2003 

2003.222

Antefix with Kneeling Guardian 

Cambodia, Angkorperiod, Khmer style of 

Banteay Srei, 3rd quarter ofioth century 

Pinkish sandstone 

H. 25 in. (63.5 cm) 

Gift of The Randall and Barbara Smith 

Foundation Inc., 2003 


A benign guardian deity, carved in extremely 

high relief, is seated in a relaxed, secular posture 

in an architectural setting comprising a 

wide plinth and engaged pilasters that support 

an elaborate cusped arch surrounded by 

foliation or stylized cloud formations. 

Antefixes of this type were placed on the 

upper levels of some tenth-century Khmer 

temple towers. They are seen to greatest 

advantage at Banteay Srei, the small and 

exquisite temple complex northeast of Angkor 

dedicated in 968. The hallmarks of this temple 

include superb modeling of sculpted figures, 

precise and highly refined detailing of decorative 

elements, and use of a rare and very attrac- 

tive pinkish sandstone, features seen in this 

antefix. 

This work is a significant addition to our 

small collection of Khmer sculpture in the 

Banteay Srei style. 

ML 

The Kota Master 

Indian, active early to mid-i8th century 

Radha and Krishna Walk in a Flowering 

Grove 

Indian (Rajasthan, Kota), ca. 1720 

Ink, opaque watercolor, and gold on paper 

7/2 X 4/8 in. (19.1 x II. cm) 


Fund, 2003 

2003.178a 

Radha and Krishna, the archetypal lover and 

his beloved, gaze into each other's eyes during 

a sunset walk beneath flowering trees. 

Palm trees seem to explode on the horizon, 

and a multitude of birds throng the boughs 

and the foreground stream. The lovers' bodies 

and their garments, like the floral garlands 

they hold, appear suspended in motion, while 

the setting vibrates to their ecstasy. This 

quintessential Indian idea, that nature echoes 

the passions, is beautifully manifest here in 

the work of a master artist who has translated 

emotion into visual delight. 

The small kingdom of Kota became an 

important artistic center beginning in the late 

seventeenth century and is best known for 

paintings of tiger hunts. This is the first work 

by this master, one of the most important of 

the early-eighteenth-century Kota atelier, to 

enter the collections. 

SMK

Heads of Hevajra and Four Yoginis 

Cambodia or Thailand, late ith-ist half of 

i2th century 

Bronze 

H. 4 in. (Io.2 cm) to 44 in. (0o.8 cm) 

Gift of Miriam and Ira D. Wallach 

Foundation, 2oo0 

2002.37oa-e 

Standing Eight-ArmedAvalokiteshvara, 

the Bodhisattva of Infinite Compassion 

Cambodia or Thailand, Angkor period, Khmer 

style of the Bayon, late i2th century 

Stone 

H. 77'2 in. (I96.9 cm) 

Gift of Jeffrey B. Soref, 20oo 

2002.477 

The finest statues from the greater Khmer 

empire rank very high in the history of world 

sculpture. Over a period of approximately 

three decades the Museum's collection of 

Khmer art has, by common assent, evolved 

into the finest outside of Cambodia and 

Paris. Nevertheless, with the addition of this 

extraordinary sculpture the importance of the 

collection is elevated to a new level. 

This multiarmed Avalokiteshvara, the 

most popular deity in Mahayana Buddhism, 

was carved during the reign of Jayavarman 

VII (r. II8I-I2I9), one of the most important 

and dynamic of all Khmer rulers. During 

his lifetime, in addition to the introduction 

of new body proportions, a new physiognomy 

began to appear in sculpture, both in 

relief and in the round, which must have 

reflected the appearance of the ruler himself. 

With a sculpture as important as this, it is 

likely that we cannot be far away from an idealized 

portrait of the youthful Buddhist ruler. 

The sensitively modeled face exhibits the 

inner calm and supreme bliss that come 

from perfect enlightenment. The bodhisattva's 

eyes are closed in meditation, all 

facial muscles are relaxed, and his wide 

mouth is set into the most subtle suggestion 

of a smile-the mystic, enigmatic, world- 

famous "Khmer smile." 

ML 

The main element in this incomplete group 

is the upper part of a sculpture of the eightfaced 

Hevajra, an important deity in later 

Khmer Tantric Buddhism. Originally, the 

group would have included the complete 

eight-faced, sixteen-armed Hevajra and eight 

small dancing yoginis, the female destroyers 

and dispellers of ignorance in the eight divi- 

sions of the universe. Our group preserves 

four of the yoginis, each of them a delightful 

and lively self-sufficient sculpture. This 

grouping, though not large, conveys an 

unexpected sense of monumentality. 

The isolation of whatever stylistic ingredients 

have gone into this group is not easy. 

The four missing dancing figures would not 

provide more visual information than the 

ones we have, but the rest of the main deity 

certainly would have been useful. The soft, 

rounded forms and general physiognomy 

recall elements from the Mon stylistic vocabulary 

of Thailand. There seems to be little 

of Khmer artistic sensibility here, other than 

the Khmer-style ear pendants and tiara. Yet 

something of the Khmer late Baphuon style 

is suggested in the uppermost head and the 

treatment of the bodies of the yoginis. This 

prompts me to believe that the remarkable 

ensemble cannot date to later than the first 

half of the twelfth century. 

ML

Donors of Gifts of Works of Art 

or of Funds for Acquisition of Works of Art 

July I, 200oo-June 30, 2003 

Donors of Gifts of Works of Art 

Andrew Achsen 

Brian T. Aitken 

Bequest of Arthur G. Altschul 

American Academy of Arts and Letters 

Bequest of Walter H. Annenberg 

Pierre Apraxine 

Giorgio Armani 

Mr. and Mrs. Henry Arnhold 

Mrs. Vincent Astor 

Richard Avedon 

Marielle Bancou-Segal 

Barbara S. Barnett 

Anne H. Bass 

Timothy Baum 

Mr. and Mrs. Stephen R. Beckwith 

Katrin Bellinger 

Mr. and Mrs. Richard Benedek 

Dawn F. Bennett 

Jeffrey L. Berenson 

Bequest of Lillian Berkman 

Robert Gifford Berry and Christiane 

Laus Berry 

Dirk Bikkembergs 

Patti Cadby Birch 

Leon and Debra Black 

Mrs. William McCormick Blair, Jr. 

Bill Blass, Ltd. 

James and Genevieve Bleecker 

Dries and Diana Blitz 

Anthony Blumka 

Andrew Bolton 

Bequest of Louis Bowen 

Lois Ziff Brooks 

Holly Brubach 

Buffalo Boots London 

Mary Burr 

Helena van Cortlandt Burrill 

Peter Buttenwieser 

Lillian and Stuart Caplin 

Eric G. Carlson 

Jessica Carnegie 

Roberto Cavalli 

CDS Gallery, New York 

Marian Clayden 

Ralph T. Coe 

Bequest of Barbara W. Cohen 

Joseph M. Cohen 

Karen B. Cohen 

Brian D. Coleman 

Luis Angel Col6n 

William and Toni Conte 

Soussan and Scott Cook 

Beatrice and Charles Cooper 

Bequest of Irma L. Croll 

Mrs. Corinne Cuellar 

Catherine G. Curran 

Paul Cushman, Jr. 

John D'Agostino 

Bequest of David M. Daniels 

Martin J. Davidson 

Torkom Demirjian 

Charles and Valerie Diker 

Drs. Nicole and John Dintenfass 

Loren Dobbs 

Amy and David Dufour 

Mr. and Mrs. Joseph Duke 

Deborah S. DuSault 

Walter A. Eberstadt 

Eileen Ekstract 

Gaetana Enders 

Prof. Earl L. Ertman 

Thomas M. Evans, Jr. 

Katherine and George Fan 

Alberta Ferretti 

Armand J. Fred Ferretti and Eileen 

Yin-Fei Lo 

Barbara W. File 

The Family of Avery Fisher 

Robert Flynt 

Elizabeth Sander Foley 

Bequest of Ernest L. Folk 

Nancy Ford 

Ruth Ford 

Allan Forsyth 

Jacqueline Loewe Fowler 

Jaime Frankfurt 

James Freeman 

Barry Friedman, LTD 

Eugenie Fromer 

Stephen Gan 

Bequest of Emily Genauer Gash 

Stephen A. Geiger 

Bequest of Peggy N. Gerry 

Alan and Monah L. Gettner 

David and Joshua Gilder 

Armand Gilinsky, Jr. 

Ralph Ginzburg 

Paula Brown Glick 

Robert and Debbie Gordon 

Ion Gresser, M.D. 

Jeff Guerrier 

C. Z. Guest 

Dr. Wesley and Carolyn Halpert 

Vivi and Lior Haramaty 

Claude C. Heckscher 

Steven Heiblim 

Linda A. Henselman 

Judith F. Hernstadt 

Ariel Herrmann 

James Holderbaum and Brooks Beaulieu 

Jane Holzer 

Marc Holzer 

Stuart and Rhoda Holzer 

Robert Homma 

Stephane Houy-Towner 

Anita Huffington 

Robert J. Hurst 

Carleen Maley Hutchins 

Charles Isaacs and Carol Nigro 

Simon Jackson 

Professor Irma B. Jaffe 

Gladys Janecek 

Lisa Papamarkou Jewell 

Alexander B. V. Johnson and Roberta 

J. M. Olson 

Dr. Horton A. Johnson 

Bequest of Laura Johnson 

Margot Johnson and Bogdan 

Lenkiewicz 

Jones Apparel Group, U.S.A. 

The Peter T. Joseph Foundation 

Jack A. Josephson 

Stefanie A. Juster 

Norma Kamali 

Martin Kamer 

Barbara Rochelle Kaplan 

Subhash Kapoor 

Mr. Michael Kaye 

Mr. and Mrs. Walter Kaye 

Nanette Rodney Kelekian 

Mr. and Mrs. Robert Keuffel Keller 

Kimono House 

Emilie Stehli Knoerzer 

Nancy S. Knox 

Robert Koch 

Harold Koda 

Dany Kornfeld 

Mr. and Mrs. S. Richard Krown 

Robert and Anita V. LaGamma 

Isaac Lagnado 

La Perla 

Judith Leiber 

Marie Jose Lepicard 

Bequest of Janice H. Levin 

The Philip and Janice Levin 

Foundation 

Jo Levitt 

Ellen Levy 

Mireille Levy 

William S. Lieberman 

Vera G. List 

Bruce and Angelika Livie 

Peter and Paula Lunder 

Rose Lynn Mangan 

George Mangini 

Paula A. Marincola 

Phyllis D. Massar 

Bequest of Maria-Gaetana Matisse 

Bannon McHenry 

David and Renee McKee 

Mary Beth McKenzie 

Graciela and Neal Meltzer 

The Mercer Trust 

Joseph F. Metzendorf 

Eleanore Mikus 

Caroline Rennolds Milbank 

Samuel H. Milligan 

Anne W. and David T. Mininberg 

Jan Mitchell 

M-K Enterprises 

Lansing Moore 

Catherine O. Mosley 

Susan Spalding Munroe 

Miyeko Murase 

Bequest of Dr. Edith Neumann 

Jill Newhouse 

Muriel Kallis Newman 

Joseph Veach Noble 

Not Vital 

Jules Olitski 

Hideyuki Osawa 

Christopher R. Ostafin 

Pace Primitive 

Bernard Papillon 

Gerald S. and Alice C. Parker 

Romano I. Peluso 

J. Vicente Pefiarrocha 

Irving Penn 

Tina S. Perlmutter 

Roberta Peters 

Stanley Posthorn 

Mark Shrum Pratt 

David and Georgette Preston 

Martin F. Price 

Monroe E. Price and Aimee Brown Price 

Alessandra Ragionieri 

Joseph G. Reinis 

Mrs. Annette de la Renta 

Bartlett R. Rhodes 

Francesco C. Ribando, Sr. 

Anne d'Harnoncourt Rishel 

Miriam N. Rosen 

Barbara S. Rosenthal and Kenneth 

W. Juster 

Gemma Rossi 

The Judith Rothschild Foundation 

Lisa Roumell and Mark Rosenthal 

Mr. and Mrs. Derald H. Ruttenberg 

Charles Ryskamp 

Julie Saul Gallery, New York 

Don Sayres 

Erik Andrew Schneider 

Grace and Andrew Schoelkopf 

67 




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Foundation, Inc. 

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Bequest of Thomas Rayner Todd 

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of Works of Art 

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American International Group, Inc. 

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Constance and Carroll L. Cartwright 

Thomas A. Cassilly 

Charina Foundation, Inc. 

Chilton Family Foundation 

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Bequest of Barbara W. Cohen 

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The Concordia Foundation 

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Coral Reef Foundation 

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Bequest of Joanne Toor Cummings 

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68

STATEMENT OF OWNERSHIP, MANAGEMENT, AND CIRCULATION 

Publication title: THE METROPOLITAN MUSEUM OF ART BULLETIN 

Publicatio no: 885-660 

Date offiling: October I, 2003 

Issuefirequency: Quarterly 

No. of issues published annually: Four 

Annual subscription price: $25.00, or free to Museum Members 

Complete mailing address ofknown office ofpublication: 1ooo Fifth Avenue, New York, N.Y. io008-oI98 

Complete mailing address of headquarters or general business office ofpublisher: 

IOOO Fifth Avenue, New York, N.Y. 10028-0198 

Full names and addresses ofpublisher, editor, and managing editor: 

Publisher: The Metropolitan Museum of Art, IOOO Fifth Avenue, New York, N.Y. 10028-oi98 

Editor: Joan Holt, Ioo0 Fifth Avenue, New York, N.Y. 00o28-o198 

Managing Editor: None 

Owner: The Metropolitan Museum of Art, 1oo0 Fifth Avenue, New York, N.Y. 10028-0198 

Known bondholders, mortgages, and other security holders owning or holding one percent 

or more of the local amount of bonds, mortgages, and other securities: None 

Tax status: The purpose, function, and nonprofit status of this organization and the tax exempt 

status for federal income tax purposes has not changed during the preceding 12 months. 

Average number of copies Single issues nearest 

during preceding 12 months to filing date 

(Oct. 02-Sept. 03) (July 03) 

A. Total copies printed (net press run) II15,929 113,875 

B. Paid and/or requested circulation 

I. Paid and/or requested outside-county 

mail subscriptions 70,063 69,834 

2. Paid in-county subscriptions 33,904 34,118 

3. Sales through dealers, carriers, street vendors, 

counter sales, and other non-USPS None None 

4. Other classes mailed through USPS 6,474 6,254 

C. Total paid and/or requested circulation 110,441 110,206 

D. Free distribution by mail 

I. Outside-county None None 

2. In-county None None 

3. Other classes mailed through USPS 150 130. 

E. Free distribution outside the mail 5,263 3,479 

E Total free distribution (sum of Di, D2, D3, and E) 5,413 3,609 

G. Total distribution (sum of C and F) 115,854 113,815 

H. Copies not distributed 75 6o 

I. Total (sum of G and H) 115,929 113,875 

J. Percentage paid and/or requested circulation 95.32% 96.82%

The Metropolitan Museum of Art Bulletin Fall 2003

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